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THE SERVICE OF SONG 


A TREATISE ON SINGING 

IN PRIVATE DEVOTION, 

IN THE 

FAMILY AND IN THE SCHOOL, 

AND IN 


Jtefjipiitg tapptiira. 


REV. A. 


G. 


BY 

V 


STACY, 


A. 


M. 



A. S. BARNES & COMPANY, 
NEW YORK AND CHICAGO. 

1874 . 


2 > 




J5yz^o 
S:7.7 
jzii- 


Entered according to Act of Congress, in the year iSflf by 
A. G. STACY, 

in the Office of the Librarian of Congress at Washington. 


The Library 
of Congress 


WASHINGTON 







EDICATION. 


TO THE 

COMPILER OF SEVERAL COLLECTIONS 

» “ OF 

v 

HYMNS AND SONGS, 

REV. THOS. O. SUMMERS, D. D., 


WHOM THE AUTHOR OF THIS VOLUME IS 
PERMITTED TO CLAIM AS HIS PERSONAL FRIEND 
AND HIGHLY ESTEEMED BROTHER IN 
CHRIST, THIS BOOK IS AFFECTION- 
ATELV INSCRIBED. 




































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- - » 






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. * '* 






. 




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.... . , 









PREFACE. 


The Author of this unpretending volume has long looked 
in sadness upon the indifference manifested by many in the 
service of song. Thousands who have the ability to sing 
maintain a careless silence in the church; and of those who 
sing, many are evidently destitute, to a very great extent, of 
the spirit of worship. Even ministers are but too frequently 
seen burying their own talent for song, while they allow 
habitual remissness in others without uttering a word of 
instruction, encouragement or warning. Observation of this 
inattention to a matter of prime importance convinced the 
writer, several years ago, that something should be done to 
bring up the practice of the Church to the Scriptural rule. 

Supposing that there were already extant books and tracts 
on the subject of Praise in Song, we searched many private 
libraries, but could find no works of the kind. Special 
inquiry was then made at sundry book-stores and publishing 
houses, but with little success. From Columbia and Charles¬ 
ton, S. C., Nashville, Tenn., and 200 Mulberry street, New 
York, and other cities, nothing could be obtained but a few 
fyooks on Psalm-singing, Hymnology, and Musical history. 



VI 


PREFACE. 


A few other valuable publications of the same character 
were procured from the private library of David Creamer, 
Esq., of Baltimore, most of them imported by him from 
England about twenty-five years ago. 

None of these volumes are in general circulation in this 
country; and in none of them is the general subject of 
singing so fully discussed as to meet the desideratum. 
Hence, we reached the conclusion that one more book was 
greatly needed. Friends were consulted, and among them 
an eminent scholar and minister of the Gospel, at 
Nashville. Their views coincided with our own, and we 
were encouraged to undertake the work. Urged by a sense 
of duty, we took up our pen, determined to publish or 
suppress what should be written, as judicious advisers might 
suggest. The present volume is the result. 

We have paid due respect to the productions of both 
ancient and modem writers; but have steadily kept in view 
our own plan, and have fearlessly expressed our own views. 
Above all, we have made the Bible “ the man of our counsel.” 

To have written in the absence of all books save the 
Holy Scriptures, would have cost us only about a tithe of 
the time and labor devoted to the work, but we thought 
conclusions reached after free discussion preferable to 
dogmatism. 

It is hoped that the book will be found to be Christianly 
liberal. There is here no doctrinal controversy to offend 



PREFACE. 


VII 


those whose creeds differ from that of the author. In what 
is said of Church usage we have written freely, but kindly. 
Our aim has been to prepare a manual for the edification 
and comfort of Christians generally, and which may interest 
and profit those who are without the pale of the Church. 

At every step we have desired that a theme so transcend- 
ently important should be treated by an abler hand; and, 
without the kind words and favorable opinion of those upon 
whose judgment we could rely, the work had never been 
finished. In this connection we take pleasure in mentioning 
the names of the Rev. T. O. Summers, D. D., and the 
Rev. W. A. Gamewell. The latter now sings in heaven. 

Being especially solicitous to reach the heart, we converse 
with the reader as friend would talk to friend. 

The preparation of the work has been a blessing to us, 
and if its perusal shall be alike beneficial to the reader, we 
shall be a thousand times compensated for the time and 
effort expended. 

May we meet in the land of light and love. There we 
shall forever behojd and worship “The King in His 
beauty.” But “ who can show forth all His praise ? ” 

Our offering, humble though it be, is laid upon the altar 
of Him “ who is above all blessing and praise.” May it be 
graciously accepted. The Author. 

Lexington, Mo., January 14, 1871. 


PREFACE 


TO THE 


SECOND (REVISED) EDITION. 


It is with unfeigned gratitude to our Heavenly Father that we 
revise the “ Service of Song ” for a new edition. The work has 
been received with a degree of favor transcending our most san¬ 
guine expectations, and we look upon the history of the past as an 
encouraging prophecy of the future. 

A few points seem to be definitely settled : 

1st. It is a new book. There is nothing like it in any library— 
no other volume in which the topics embraced in this are fully and 
satisfactorily discussed. 

2d. It is a book for the people. It has been read by ministers 
and members of all the leading Churches, who have united in 
expressing a most favorable opinion in regard to it. 

3d. It is a book which is calculated to do good. While the 
opinion has been repeatedly expressed by those who have examined 
it, that it cannot be read without profit, the author has received, 
from various sources, positive and cheering evidence of the benefit 
derived from its perusal. 

4th. It is not a local or ephemeral production: it suits all times 
and all latitudes. The importance of the great subject of the Praise 
of God in Song will be more fully appreciated as days and years 
roll away. The lapse of time can scarcely impair the plan and style 
of the work. 

The book, when first issued, went forth to the reading public as a 
youthful stranger: it now goes abroad with greater assurance, 
indorsed as it is by many of the most eminent authors, scholars, 
and ministers, as well as by those who are unknown to fame. 

To those who have aided in the dissemination of the work, we 
return our sincere thanks, while, at the same time, we would gladly 
enlist them, and thousands more, as active agents for its wider cir¬ 
culation both in Europe and America. 

Thine, O Lord, is the kingdom, the power, and the glory. 

Austin Female College, Austin, Texas, ) 

August 20th, 1874. ) A ‘ Q ‘ S * 



CONTENTS 


GENERAL SCRIPTURAL VIEW. 


The Angels Delight to Sing their Maker’s Praise—Our First Parents 
in Eden—Their Worship—The Atonement Furnishes new Cause 
for Praise—Music after the Fall—Vocal music must have Pre¬ 
ceded Instrumental—Instruments invented—The first Sacred 
Song—Two Choirs—The Tabernacle set up—Moses composes 
a Song just before his Death—The Song of Deborah, the 
Prophetess—The First and Best Poets were Hebrews—The 
Song sung at the First Attempt to Bring the Ark to the Hill 
of Zion—The Song sung when the Ark was brought up,— 

The Arrangement made by David for the Service of Song 
when the Worship in Jerusalem was Established—Women 
Singers as well as Men Singers in the Temple Choir—Why 
David is called “the Sweet Psalmist of Israel”—The Golden 
Age of Hebrew Poetry and Song—Sihging at the Dedication of 
Solomon’s Temple—The Style of Singing in the Tabernacle and 
in the Temple—Illustration—“His mercy endureth forever”— 

The Captives in Babylon hang their Harps upon the Willows— 

The Captives on their Homeward March—Praise at the Laying 
of the Corner-stone of the Second Temple-—The Advent of 
the Messiah, and the Song of the Angels after a long season 
of Gloom—Christ and the Apostles Sung a Hymn before going 
out to the Mount of Olives—The First Century of the Christian 
Era—Paul and Silas at Phillippi—Teachings and Injunctions 
of the Apostles in regard to Singing—The Song Heard by 
St. John the Divine—This Scriptural Review shows Praise to 
be an Integral Part of Worship. 27 





X 


CONTENTS. 


PART FIRST. 

SINGING IN PRIVATE DEVOTION. 

Religion should be made a Personal Matter—Singing should have 
a place in Private Devotion—David and the other Psalmists— 

The Devout Laborer—Numerous Occasions of Gratitude and 
Praise—“O, Weep not for the Joys that Fade”—Death, 
only, considered Inexorable by the Ancient Grecians—The 
Albigensian Christians—Margaret Wilson—Charles Wesley— 

John Wesley—The Little Girl in the far Southwest—Bishop 
Capers — The Rev. William Hoge— The Rev. W. G. 
Caples... 53 


PART SECOND. 

SINGING IN THE FAMILY AND IN THE SCHOOL. 


CHAPTER I. 

SINGING IN THE FAMILY. 

Home—A Christian Home—Praise as well as Prayer should be 
Heard in the Habitations of the Faithful—Benefits of House¬ 
hold Praise—Why it is especially Beneficial to Children—We 
need Sacred Songs as an Offset against Bacchanalian or Ribald 
Songs—The Early Christians—The Westminster Assembly— 
Matthew Henry’s Remark—The Author’s Reminiscences— 

*‘Come to the Place of Prayer”—Family Choirs. 66 

CHAPTER II. 

SINGING IN THE SCHOOL. 

Music should be Taught in all our Literary Institutions—Pupils can 
usually learn Music with ease—General Conference Action- 
Bishop Andrew on the same subject—Singing in the Schools in 






CONTENTS. 


XI 


Prussia—What Luther says—President J. M. Bonnell—Dr. 
Thomas Hastings—N. D. Gould—Dr. Rush Recommends 
Vocal Music—Horace Walpole—Instrumental Music in Female 
Colleges—Bishop Andrew desires Sacred Songs—Singing in 
the Sabbath-school—The Singing of Children—A Musical 
Theology for Children. 


PART THIRD. 

SINGING IN THE WORSHIPING CONGREGATION. 


SECTION 1.—WHO SHOULD SING? 


CHAPTER I. 

ALL SHOULD SING. 

The Object of Congregational Singing—Many of our Hymns are 
Prayers—Singing takes its stand with Preaching and Praying— 
Congregational Singing the Oldest Style of Music in the Chris¬ 
tian Church—The Transition to the Clergy—Luther Restored 
Music to the People—Singing a part of Divine Worship—White- 
field’s Preaching and the Singing—The Hibernian in the Sack at 
Wexford—The Tavern-keeper—Musical Works issued by the 
Wesleys—Rules in the Methodist Discipline—But few, com¬ 
paratively, Sing—Preachers must Lead in the Reformation... 92 

CHAPTER II. 

ALL SHOULD SING.- (ContblUed.) 

The Great Power of Song in the Reformation—Luther—Clement 
Marot and Theodore Beza—Priests Sung Down by the Peo¬ 
ple—Papists Imitate the Protestants—Reformation in England— 
Influence of Ministers—All should Sing—Dr. Olin—Bishops 
Coke and Asbury on Singing—George Dougherty in Charleston, 






XII 


CONTENTS. 


S. C.—Felix Neff—What Chrysostom says—Augustin—Mel- 
vill — Luther—Cotton Mather’s Remark—What McCheyne 
says—Furber’s Remarks to Ministers—The Orator—The Ant— 

The Word of God—His Works. 109 


SECTION II.—HOW SHOULD WE SING? 


CHAPTER I. 

CHOIRS. 

Definition of a Choir—Choirs obtained under the Jewish Dispensa¬ 
tion—Choirs not Popish in their Origin—Not. necessarily of 
Judaizing Tendency—Paid Choirs Bearing Burdens — Of the 
Members of the Choir—Place for the Choir—Illustrative Nar¬ 
rative—Putting the Singers in the Gallery—Mostly Plain Tunes 
should be Sung—Aelredus’ Description—Singing of the Col¬ 
ored People in Cities—Science in Music—The Precentor—The 
Effect of Discord—The Choir should Lead while all Sing— 
Productive of Great Good. 142 

CHAPTER II. 

MELODY AND HARMONY. 

Definition—Origin of Counterpoint—Harmonizing in Germany— 

Mr. Weber’s first Objection to Harmony—His second, third, 
and fourth Objections—The Power of Harmony a Divine Gift— 
Treble should Predominate—Female Voices—Male Voices— 
Variety of Voice—The Music of the Spheres—Harmony in the 
Universe—Distinguished Advocates of Harmony. 172 

CHAPTER III. 

FUGUE TUNES AND ANTHEMS. 

Definition—Origin—Billings introduced Fugue Tunes into American 
Churches—Objection to this style of Music—John Wesley on 







CONTENTS. 


.XIII 


Intricate and Undevout Singing—Description by Rector of St. 
Bardolph’s—General Conference of 1792 —Plain Tunes—Dr. 

A. Clarke’s Objection—What has been said in favor of An¬ 
thems—To what extent they should be used—Vain Repetitions. 187 

CHAPTER IV. 

ADAPTATION-ARTICULATION-ACCENT-ATTITUDE. 

Tune must be Adapted to the Words—The Song must be Adapted 
to the Time, Place and Occasion—Bishop Pierce—Remarks by 
N. D. Gould—Another Illustrative Instance—Spirit which Per¬ 
vades the Singing—Want of Feeling in Singers—Importance 
of a Good Articulation—Management of . the Voice—No Music 
without Accent—Management of the Breath—A Standing Posi¬ 
tion Preferable—Dr. Guthrie’s Remarks. 196 

CHAPTER V. 

INSTRUMENTAL MUSIC. 

Invention of Musical Instruments—Egypt Claims Precedence—Also 
the Chinese—Devotion of the Grecians to Music—Romans— 
Music in Great Britain—The Organ—Dr. A. Clarke on Instru¬ 
mental Music—Richard Baxter’s View—Horne and Richmond— 
What Richard Watson says — David—Silence of Christ and 
the Apostles on the subject—J. Wesley’s advice as to Organs— 
Portrait of a Good Organist—Various kinds of Instruments— 

We should always Sing Spiritually—Church Service should be 
Attractive—Objections Neutralized—The best Arrangement... 223 

CHAPTER VI. 

SPIRITUAL SINGING. 

The Young Convert—Are we Prepared to Sing in Heaven?— 
Indifference—The Psalmist Praised God Heartily—Ardor of 
the Apostles and Early Christians — Heartfelt Song should 
Celebrate the later Triumphs of the Cross—Formality in Sing¬ 
ing the Great Evil—Science in Singing should be Recognized.. 245 



XIV 


CONTENTS. 


SECTION III.—WHAT SHOULD WE SING? 


CHAPTER I. 

SHOULD WE SING PSALMS EXCLUSIVELY? 

Presumption in favor of Compositions of Uninspired Poets—View 
of theSeceders—The Title of the Tsalms—“ Song of Songs”— 
Ralph Erskine’s View and Conduct—Suitableness of Matter for 
Praise — Testimony of Isaiah — Offering Strange Fire — 
“Psalms, Hymns and Spiritual Songs”—Example of Simeon, 
Anna the Prophetess, etc.—Early Christians—Common Version 
and Rous’ Compared — General Assembly of the Church of 
Scotland. 254 

CHAPTER II. 

UNINSPIRED SACRED LYRICS. 

Watts and Wesley—Opinion of John Wesley—Dr. Abel Stevens’ 
estimate of Charles Wesley—Hymns on Holiness—Life-long 
Devotion of the Wesleys to Sacred Song—Reservoirs of Sacred 
Poetry—Review of Songs for the Sanctuary—Merits of the 
Hymn-book of M. E. Church, South—Singing Hymns 
of Praise—Hymns and Songs too little Read and Studied— 
Brief Sketches of Hymn Writers—Great Volume of Sacred 
Song not yet Complete... 282 


SECTION IV.—WHY SHOULD WE SING? 


CHAPTER I. 

WE SHOULD PRAISE GOD FOR WHAT HE IS IN HIMSELF 
AND FOR WHAT HE IS TO US. 

What constitutes the Glory of God ?—The work of Creation proves 
God to be Omnipotent—His power as great in the Moral as in 
the Natural World—The Wisdom of God commensurate with 







CONTENTS. 


XV 


His Power—God is Love—The Mercy of God the most at¬ 
tractive form of His Goodness—We are overwhelmed with 
emotion when we consider what God is to us. 

CHAPTER II. 

THE POWER OF SONG. 

I< banishes the evil Spirit from Saul—Tyrtaeus—What Terpander 
did with the Spartans—Alexander—Amabeus, the Harper— 
The Abyssinian Trumpet—William the Conqueror—Effect of 
Music on Murad IV.—Music at the battle of Quebec in 1760— 
Haydn moved to tears—The Theatre—The Starving Lion 
Charmed—The Singing of Cookman—Singing by Soldiers in 
Mexico — Effect of a Song on an Actress — Song at Camp¬ 
meeting-The Grey-headed Gambler-The Nobleman’s 

Daughter—Reasons why we should Sing—“ Sing Praises to 
God! Sing Praises! ”. 


308 


319 





i .• 


INTRODUCTION. 


We had the pleasure of perusing the manuscript 
of this work when it was first written. Circum¬ 
stances prevented the publication of the work at 
the time, and the author has availed himself of 
the delay in making important additions to it. 
We are glad it is now to appear in print. We 
bespeak for it a wide circulation, as it is eminently 
good to the use of edifying. We rejoice in every 
effort put forth to increase an interest in the 
u Service of song in the house of the Lord.’’ 

The cultus of the Church in this country has 
been very defective in this matter. We do not 
mean that we have not a sufficiently copious and 
suitable Psalmody. In this respect the Church, in 
her various branches, is well endowed. 

There is the inspired Psalter, together with the 

beautiful canticles interspersed through the Bible, 

which might be sung and chanted greatly to the 
2 



XVIII 


INTRODUCTION. 


edification of the Churcli. The translators of our 
authorized version of the Bible were singularly 
happy in rendering these inspired hymns; and 
we like to hear them sung in the noble words 
which have been hallowed by the use of English- 
speaking Christians for centuries. 

Imitations of these songs of Zion were used by 
the Church in the days of the Apostles, and so 
have they been in every succeeding age. 

Pliny, writing to Trajan, says the Christians 
were accustomed to meet together on a stated day, 
before it was light, and to sing a hymn to Christ, 
as to a god, alternately. 

The earliest Christian hymn which has come 
down to our times was written in Greek, by 
Clemens Alexandrinus, who flourished about a 
hundred years after the death of John the Evan¬ 
gelist. It is a pleasing and suggestive fact, that 
that hymn was composed for the children of the 
Church. It is found in his Pedagogue. An old 
Latin version is sometimes bound up with it. A 
rough version of a portion of it may be found in 
our “ Hymns for Schools and Families,” begin¬ 
ning, “ Shepherd of tender youth.” 


INTRODUCTION. 


XIX 


As songs and ballads are the most effective 
vehicles of instruction and influence, so that 
Andrew Fletcher, of Saltoun, is reported to have 
said that he cared not who wrote the laws of the 
nation, if he might write its ballads, we need 
not wonder that they were largely employed for 
this purpose, as well as for the expression of 
devotional sentiment, in the Primitive Church. 

When the Arians availed themselves of this 
potent instrumentality for the spread of their 
heresy, Chrysostom counteracted them by furnish¬ 
ing orthodox hymns for the use of the faithful. 

Augustin, in the Western Church, made a hymn 
in imitation of Psalm cxix., to check the Donatists, 
who composed hymns for the propagation of their 
errors. 

Before his time, Hilary, Bishop of Poictiers, and 
Prudentius, a Spaniard, composed Latin hymns, 
which were extensively used in the Western 
Church. 

The Trisagion , or Cherubical Hymn, in its sim¬ 
plest form, has come down to us, perhaps, from 
the third century. It is found in the so-called 


XX INTRODUCTION. 

Apostolical Constitutions, as is tlie Gloria in Ex - 
celsis. 

The Gloria Patri was introduced to check the 
Arian heresy. 

The Te Deum was probably composed by 
Mcetus, Bishop of Triers, in Gaul, in the sixth 
century, and has been in nearly universal use 
ever since. 

During the Middle Ages the piety of the Church, 
almost smothered as it was by superstition, flamed 
forth occasionally in such productions as the 
Stabat Mater , Dies Irce , etc., which have been 
translated into the modern tongues. They are 
venerable relics of those dark centuries; but 
neither they nor the Hymns of the Primitive 
Church are likely to come much into popular use. 

At the time of the Reformation the sacred muse 
was invoked more than ever before. Luther com¬ 
posed many fine hymns in German, as well as 
tunes, which became very popular. 

Clement Marot, groom of the bed-chamber of 
Francis I., and Theodore Beza versified the Psalms 
in French, a*nd had tunes set to them. 

Thomas Sternhold, one of the grooms of the 


INTRODUCTION. 


XXI 


bed-chamber of Edward VI., John Hopkins, and 
others, versified the Psalter in English. Their 
version, rough as it is, became popular in England. 

A version was afterward made by Francis Rous, 
Provost of Eton under the Commonwealth, which 
subsequently became, and still continues to be, the 
authorized Psalmody of the Scottish Churches. 

In 1696, Nahum Tate, D. D., Poet Laureate, and 
Nicholas Brady, D. D., Vicar of Stratford-on-Avon, 
published “A New Version of the Psalms of 
David,” which took the place of the version of 
Sternhold and Hopkins in the Church of England, 
and is still used by that Church and its offshoots. 

“ The Psalms of David, imitated in the language 
of the New Testament,” by Dr. Isaac Watts, was 
published in 1719, and, with his “ Hymns and 
Spiritual Songs,” became very popular, especially 
among English Dissenters. They are a lasting 
heritage to all English-speaking Churches. 

Charles Wesley and other members of the Wes¬ 
ley family versified the Psalter, a few Psalms ex¬ 
cepted, and wrote thousands of hymns, many of 
which are fine specimens of uninspired songs. 

It is not necessary to refer to the hundreds of 


XXII 


INTRODUCTION. 


other sacred poets who have tested the powers of 
our noble tongue to enrich the service of song in 
the house of the Lord. 

It is impossible to overstate the importance of 
this delightful part of the worship of the Church. 
There is not a doctrine or duty of our holy religion 
that is not inculcated in the most winning manner 
by holy song. 

In David’s Psalter we have Psalms “to give 
instruction,” and “to bring to remembrance,” 
didactic and historical Psalms, which were used in 
the tabernacle, temple, and synagogue worship. 

The reformers of the age, who would exclude 
all but distinctively devotional hymns, make a 
great mistake. The Jewish Church and the Primi¬ 
tive Christian Church, as we have seen, availed 
themselves of the power of song to inform the 
mind, as well as to inflame the affections. It is 
easy enough to adapt suitable tunes to hymns of 
a didactic character. Such hymns may be sung 
with good effect immediately before sermon. 

Then there are subjective and hortatory hymns, 
which, used after sermon, enforce the subject-mat¬ 
ter of the discourse with singular power. Indeed, 


INTRODUCTION. 


XXIII 


such hymns not unfrequently put the minds of 
the hearers into a proper frame to receive the 
word, and should he used accordingly. 

It is eminently proper to open public worship 
with hymns of a highly devotional character, not 
only because it is our duty to “ worship the Lord 
in the beauty of holiness,” to “ come into his pres¬ 
ence with thanksgiving and make a joyful noise 
unto him with psalms,” “ to show forth his loving¬ 
kindness and faithfulness upon an instrument of 
ten strings, upon the harp with a solemn sound,” 
or with such other accessories as we can command, 
but because nothing so readily exorcises the 
worldly spirit, and puts us into a frame for all the 
other duties of the sanctuary, as songs of praise 
and thanksgiving. The evil spirit departed from 
Saul when David played his harp. Elisha calmed 
his own troubled spirit, when it had been ruffled 
by the presence of the impious King of Israel, by 
sacred minstrelsy. While the minstrel played, 
the hand of the Lord came upon the prophet, and 
he prophesied. What preacher has not felt the 
mighty influence of an inspiring song, attuning 
his spirit for his holy work! 


XXIV 


INTRODUCTION. 


Dr. Johnson never committed a greater mistake 
than when he said, in his Life of Dr. Watts: “ His 
devotional poetry is like that of others—unsatis¬ 
factory. The paucity of its topics enforces per¬ 
petual repetition, and the sanctity of the matter 
rejects the ornaments of figurative diction. It is 
sufficient for Watts to have done better than others, 
what no man has done well.” In saying this, he 
reproves others beside Watts and other uninspired 
poets. One would think the great Leviathan of 
English literature had never read David’s Psalter, 
the Benedicite , the Bened ictus, the Magnificat, the 
Nunc Dimittis, and the rapturous canticles of the 
Apocalypse, phonographed by the Eagle-evangel¬ 
ist, who caught the volumes of holy song, as they 
burst from the heavenly choristers and the “ harp¬ 
ers harping with their harps!” Strange to say, 
Johnson could never read a certain stanza of the 
Dies Ires without the most powerful emotion! 

But, not to be prolix, we express the hope that 
this excellent treatise will have a wide circulation, 
and that its perusal will bring into more general 
use the incomparable hymns which constitute the 
authorized Psalmody of the Churches, and at the 


INTRODUCTION. 


XXV 


same time promote “the service of song” in all 
the congregations of the saints. 

We hope, too, that it will promote the revival 
of domestic psalmody, that delightful part of the 
worship of “ the Church in the house,” which has, 
unhappily, gone greatly into desuetude among us. 

Nothing so identifies us with the worshipers in 
the upper temple, nothing so prepares us to join 
in their worship, nay, “ to mend the choirs above,” 
as to sing praises unto God while we have any 
being on the earth. 

The songs of the temple voice out the harmony 
of the spheres, and constitute the sweetest music 
in the orchestra of the universe.- 

There’s not the smallest orb which thou beholdst, 

But in his motion like an angel sings, 

Still quiring to the young-eyed cherubim, 

Such harmony is in immortal souls. 

Happy those whose spirits chime in with this 
divine minstrelsy! “ Blessed are they that dwell 

in thy house; they will be still praising thee!” 

“ Let my due feet never fail” to go “ to the house 
of God, with the voice of joy and praise, with the 
multitude that keep holy-day.” 

There let the pealing organ blow 
To the full-voiced quire below, 

In service high, and anthems clear, 

As may with sweetness through mine ear, 

Dissolve me into ecstasies, 

And bring all heaven before mine eyes! 

Thomas O. Summers. 







































































































. - « 















* 






I 


























































\ 




9 








s 








THE SERVICE OF SONG. 


GENERAL SCRIPTURAL VIEW. 


When the corner-stone of the earth was laid, 
“ the morning stars sang together, and all the sons 
of God shouted for j oy.” Long prior to this grand 
event, it had been the delight of the angels to 
, sing their Maker’s praise. Hence, when they saw 
this magnificent globe emerging out of chaos, as a 
brilliant reflector of the Divine perfections, they 
gave expression to their emotions in the loftiest 
strains of adoration. 

In due time the first holy and happy pair are 
created, and enter upon their delectable inherit¬ 
ance. God himself communes with them, and 
the angels who held jubilee at the sunrise of 
time pay frequent visits to this Elysium, and 
celebrate in song the praises of Him who has 
spread out a scene so fair. 

The sun by day, and the moon and stars by 
night, serve as shining preachers to the devout 
dwellers below; and the perpetual sermon is 




28 


THE SERVICE OF SONG. 


amplified and rendered still more emphatic by the 
beauty and innocency of beasts and birds, by the 
verdure and flowers which garnish this lovely 
domain, by crystal streams as they roll over 
golden sands, and even by the atmosphere itself, 
which is as pure and balmy as breezes from the 
heavenly fields. 

Can the hearts of this thrice happy pair remain 
unmoved ? Can they behold this wondrous ex¬ 
hibition of their Father’s love, or can they con¬ 
template their present felicity and the bliss which 
awaits them, without uniting in the general chorus 
of praise ? Can they refrain as 

“ The morn, her rosy steps in the Eastern clime 
Advancing, sows the earth with Orient pearls?” 

Can they hold their peace as the tranquil evening 
puts on her star-gemmed mantle ? Silence under 
such circumstances, if not impossible, is in the 
highest degree unnatural. Sing they must, and 
well has Milton suggested as the words of their 
song his noble paraphrase of the one hundred 
and forty-eighth Psalm, and beautifully has he 
described their worship: 

“ Lo*vly they bowed, adoring, and began 
Their orisons, each morning duly paid 
In various style: for neither various style 
Nor holy rapture wanted they to praise 
Their Maker, in fit strains pronounced, or sung 
Unmeditated; such prompt eloquence 
Flow’d from their lips in prose, or numerous verse, 

More tunable than needed lute, or harp, 

To add more sweetness.” 


THE SERVICE OF SONG. 


29 


Alas, that this delightful song should so soon 
give place to the voice of wailing! Alas, that 
those who have been so highly exalted should 
experience so sad a fall! 

But the promised “Seed of the woman” fur¬ 
nishes both men and angels with a new theme for 
praise. The Atonement converts the thorns and 
briars of the fall into a wreath of amaranth for 
Emmanuel’s brow—the lamentations of the lost 
into joyful hosannas. Grateful songs ascend from 
this cursed and blighted earth to the Father of 
mercies. 

In the Book of Genesis, covering a period of 
more than two thousand years, there is no posi¬ 
tive mention made of devotional music; but we 
are not left without significant intimations. If 
the first unhappy pair trusted in a Savior to come 
and were reclaimed from their grievous fall, it is 
reasonable to suppose that they again sang the 
songs to which they had been accustomed in Eden, 
and that to these they added hymns referring to 
the glorious scheme of Redemption. 

It is exceedingly probable that music, vocal 
and instrumental, was used in the service of God 
in the early ages of the world. Yocal music must 
have preceded instrumental. The human voice, 
the most perfect of all instruments, was first found 
to be capable of producing harmonious sounds, 
and, in the course of time, these were reproduced 
by artificial means. Men would not attempt to 


30 


THE SERVICE OF SOHO. 


avail themselves of adventitious aids before using 
the faculties with which they were endowed by 
nature. As well might we conceive that they 
would invent the lever and the telescope before 
having used the arm or the eye, as to suppose 
that they would practice on musical instruments 
before having attuned the voice to melody. 

For the space of five hundred years, as it would 
seem, the human voice alone was employed in 
praise; then Jubal, the father of all such as handle 
the harp and the organ—the inventor, doubtless, 
of stringed and wind instruments—was born; and, 
for aught we know to the contrary, the first mel¬ 
lifluous strains of the harp and the organ were 
consecrated to God. 

The first sacred song of which we have any 
account is that which was sung by the Israelites 
on the occasion of their triumphant passage of 
the Red Sea. Having escaped from their cruel 
taskmasters, they fly before Pharaoh and his host. 
We behold, with glad surprise, the receding waters 
as they leave a highway for the faithful fugitives. 
How they throng the safe shore, while their foes 
are overwhelmed by’ the returning waves. The 
Egyptians whom they have seen to-day they shall 
see again no more forever. 

Then sang Moses and the children of Israel this 
song: “ The Lord hath triumphed gloriously : the 
horse and his rider hath He thrown into the sea. 
The Lord is my strength and song, and He is 


THE SERVICE OF SONG. 


31 


become my salvation: He is my God, and I will 
prepare Him an habitation ; my fathers’ God, and 
I will exalt Him,” etc. 

This fine ode contains a cheering prophecy of 
tlie effect of this tremendous judgment on the 
idolatrous nations of Edom, Moab and Canaan, 
the final settlement of the Israelites in the prom¬ 
ised land, the building of the temple on Mount 
Zion, and the perpetuity of the dominion and 
worship of God. In allusion to the event which 
this song commemorates, the Psalmist, addressing 
the Deity, says: “Thy way is in the sea, Thy 
paths in the great waters, and Thy footsteps are 
not known. Thou leddest Thy people like a flock 
by the hand of Moses and Aaron.” 

Powerful, indeed, must have been the im¬ 
pression produced by the singing of this, the 
earliest lyric poem extant. Let us listen for a 
moment to the jubilant notes of the glad thous¬ 
ands who stand on the “ banks of deliverance.” 
These glowing sentiments, made tlirillingly em¬ 
phatic by the vocal and instrumental music to 
which they were joined, should live everlastingly 
in the hearts of the Israelites. 

It is supposed that the whole company were 
divided into two grand choirs, in which Moses and 
Aaron led the men, and Miriam the women. It 
seems, also, that they sang by turns, and with 
variations of soft and loud, adapted to the senti¬ 
ments of the ode; the males, led by Moses or 


32 


THE SERVICE OF SONG. 


Aaron, or both, singing the song, while Miriam, 
presiding over the female part of the choir and 
the instruments, called in their aid to swell the 
chorus by repeating the first stanza of the ode. 
Hence it is said: “Miriam answered them, ‘Sing 
ye to the Lord, for He hath triumphed gloriously; 
the horse and his rider hath He thrown into the 
sea.’ ” 

Shortly after the Israelites commenced their 
wanderings through the wilderness, the Taber¬ 
nacle was set up by the command of God; and, 
according to His direction, the Levites were set 
apart for the service of the sanctuary. Al¬ 
though we have no positive evidence of the fact, 
yet we have reason to believe that at this time 
singers and players on instruments were regularly 
appointed. 

Moses was gathered to his fathers in sight of 
the promised possession, at the age of one hun¬ 
dred and twenty years. Previous to his departure 
he composed a song, setting forth both the good¬ 
ness and the justice of God. It commences thus: 
“ Give ear, O ye heavens, and I will speak: and 
hear, 0 earth, the words of my mouth. My doc¬ 
trine shall drop as the rain, my speech shall distill 
as the dew, as the small rain upon the tender 
herb, and as the showers upon the grass: Because 
I will publish the name of the Lord; ascribe ye 
greatness unto our God.” 

About one thousand three hundred years B. C. 


THE SERVICE OF SONG. 


33 


the Lord sold the children of Israel into the hand 
of Jabin, King of Canaan, as a judgment for their 
evil deeds. Jabin oppressed them for twenty 
3 T ears, but at length they cried to God and He 
delivered them. The entire army of the Canaan- 
ites was slain cn the field, except Sisera, the cap¬ 
tain of the host, who fled away on his feet to the 
tent of Jael, the wife of Heber the Kenite. Being 
weary, and feeling secure from his pursuers, this 
war-chief fell asleep. Then Jael, Heber’s wife, 
took a nail and a hammer, and went softly to him 
and smote the nail into his temples, and fastened 
it into the ground. Here was a glorious deliver¬ 
ance for Israel, and the story of triumph should 
be embalmed in thankful song, which is done most 
admirably by Deborah, the prophetess : “ At her 
feet he bowed, he fell, he lay down; at her feet he 
bowed, he fell: where he bowed, there he fell 
down dead. The mother of Sisera looked out at 
a window and cried through the lattice, 4 Why is 
his chariot so long in coming? why tarry the 
wheels of his chariot V ” 

“ From this song, as well as that of Moses 
(Deut. xxxii.), we see that the first as well as the 
best poets of antiquity were found among the 
Hebrews, and that the art of poetry was highly 
cultivated among them many hundreds of years 
before Greece or any other country of the world 
could boast of ode, or epic, or any kind of poetic 
composition. The idolizers of Greece and Italy 
3 


34 


THE SERVICE OF SONG. 


should not forget this: to Hebrew models both 
Greeks and Homans owe much of their perfection. 
Why are not these more studied ? Why do we 
not go to the fountain-head ? ” * 

Then we have the forcible and elegant song of 
Hannah, the prophetess, expressive of her grati¬ 
tude to God for the gift of her son Samuel. 

About four hundred and fifty years after the 
transit of the Red Sea, the Tabernacle service was 
more fully organized. David, being securely estab¬ 
lished upon his throne in Jerusalem, determined, 
in accordance with the Divine will, to remove the 
Ark from the city of Nob to the hill of Zion. On 
the occasion of the transportation, the Levites 
sung the Psalm commencing: “ Let God arise, let 
His enemies be scattered, let them also that hate 
Him flee before Himwhile “ David and all 
Israel played before God with all their might, and 
with singing, and with harps, and with psalteries, 
and with timbrels, and with cymbals, and with 
trumpets.” 

But this attempt to bring up the Ark to Jerusa¬ 
lem was unsuccessful. God had commanded that 
it should be borne on the priests’ shoulders. In¬ 
stead of this, David had placed it upon a new 
cart drawn by oxen; and Uzza having been smitten 
with instant death for profanely touching the Ark, 
even David became afraid of the Divine vengeance, 
and the vast multitude being dismissed, the Ark 

* Dr. A. Clarke. 


THE SERVICE OF SONG. 


35 


was deposited in tlie house of Obed-Edom, where 
it remained for three months. The second attempt 
to remove the Ark resulted favorably. It was a 
solemn occasion, although not less jubilant than 
the first. While the priests bore the Ark,the sing¬ 
ers sung or chanted that appropriate ode: “ Lord, 
remember David and all his afflictions, how he 
sware unto the Lord, and vowed unto the mighty 
God of Jacob, saying, I will not come into the 
tabernacle of my house, nor go up into my bed, 
I will not give sleep to mine eyes, or slumber to 
mine eye-lids, till I find out a place for the Lord, 
a habitation for the mighty God of Jacob.” 

Everything pertaining to the service of God was 
now arranged in a proper and imposing manner. 

“ David, in order to give the best effect to the 
music of the Tabernacle, divided the four thous¬ 
and Levites into twenty-four classes, who sung 
Psalms and accompanied them with music. Each 
of these classes was superintended by a leader 
placed over it, and they performed the duties 
which devolved upon them, each class a week at 
a time in succession. The classes collectively, as 
a united body, were superintended by three direc¬ 
tors. This arrangement was subsequently contin¬ 
ued by Solomon after the erection of the temple, 
and was transmitted till the time of the overthrow 
of Jerusalem. It was, indeed, sometimes inter¬ 
rupted during the reigns of the idolatrous kings, 
but was restored by their successors. It should 


36 


THE SERVICE OF SONG. 


be remarked, however, that neither music nor 
poetry attained to the same excellence after the 
; captivity as before that period. 

“ There were women singers as well as men in 
the temple choir, for in the Book of Ezra, among 
those who returned from the Babylonish captivity, 
there are said to have been two hundred and forty- 
five singing men and women. The Jewish doctors 
will, indeed, by no means admit that there were 
any female voices in the temple choir; and as for 
those meshoreroth , as they are called in the He¬ 
brew, they suppose them to be the wives of those 
who sung. Nevertheless, the following passage 
makes it evident that women, likewise, were thus 
employed: 4 God gave to Heman fourteen sons and 
three daughters; and all these were under the 
hands of their father for song in the house of the 
Lord, with cymbals, psalteries, and harps, for the 
service of the house of God.’ ” * 

“ It was for the raising up of men’s hearts and 
the sweetening of their affections toward God that 
the prophet David, having had singular knowledge, 
not in poetry alone, but in music also, judged 
them both to be things most necessary for the 
house of God.” f 

It seems that David was raised up and qualified 
to establish the ordinance of singing in the Church, 
as Moses and Aaron were in their day for the pur- 

* Richard Watson. 


t Hooker. 


THE SERVICE OF SOXG. 


37 


pose of enforcing and regulating the offering of 
sacrifices; hence he is called, by eminence, “ the 
Sweet Psalmist of Israel.” 

We have now reached, in our review, the golden 
age of Hebrew poetry and song. David is in the 
zenith of his glory, and the high praises of God 
are, doubtless, celebrated in a more becoming and 
impressive manner than at any time since the 
exile from Paradise. At this point we might tarry 
long. We might speak of the heaven-inspired 
poems of David and the other “Bards of the 
Bible,” and we might dwell upon the music of 
the Hebrews in general—their military, festive 
and funeral music. We might speak of King 
Jehoskapliat, who, as a means of insuring victory, 
on going out to battle against the Moabites and 
the Ammonites, “ appointed singers unto the Lord, 
and that should praise the beauty of holiness as 
they went out before the army, and to say, Praise 
the Lord, for His mercy enduretli forever.” We 
might speak of the enthusiastic welcome of David 
by the fair minstrels of Judea after his victory 
over the Philistines, as it is said, “ the women 
answered one another as they played, and said, 
Saul hath slain his thousands, and David his ten 
thousands.” We might listen with delight to the 
animating strains which greet the Prodigal Son 
on his return to his father’s house; or we might, 
with weeping, respond to the wails of sorrow 
which tell us of the decease of Jairus’ daughter. 


38 


THE SERVICE OF SOHO. 


But our plan looks more particularly to Jewish 
sacred music. 

There was singing as well as prayer at the 
dedication of the temple built by Solomon; and 
if the prayer offered up by the royal architect was 
memorable, so the musical service was transcend¬ 
ency imposing. This might have been expected 
from the immense size and surpassing splendor 
of the edifice, the number of persons employed 
in its erection, the length of time occupied in 
collecting the materials and completing the struc¬ 
ture, the sacred uses to which it was to be devoted, 
and the general and joyful expectation with which 
the opening of so celebrated a building had been 
anticipated. 

Josephus says that “ two hundred thousand 
musicians were employed at the opening of the 
temple.” This we may consider an exaggeration; 
but even if we deduct three-fourths from the esti¬ 
mate, the number will still be astonishingly great— 
well befitting the grandeur of the occasion. 

The following is the Scriptural account: “ The 
Levites which were singers, all of them of Asaph, 
of Heman, of Jedutliun, with their sons and their 
brethren, being arrayed in white linen, having 
cymbals, and psalteries, and harps, stood at the 
east end of the altar, and with them a hundred 
and twenty priests sounding with trumpets. It 
came to pass, as the trumpeters and singers were 
as one, to make one sound to be heard in praising 


THE SERVICE OF SONG. 


39 


and thanking the Lord; and when they lifted up 
their voices with the trumpets and cymbals and 
instruments of music, and praised the Lord, say¬ 
ing, For He is good; for His mercy enduretli for¬ 
ever, that then the house was tilled with a cloud, 
even the house of the Lord; so that the priests 
could not stand to minister by reason of the cloud; 
for the glory of the Lord had tilled the house of 
God”* 

It is supposed that portions of the song-ser¬ 
vice in the tabernacle, and subsequently in the 
temple, were executed by the Levites alone, while 
some pieces were sung in alternate parts by them 
and by the people, the whole multitude lifting up 
their voices in chorus. In general, however, when 
the praise of Jehovah was celebrated, the entire 
body of worshipers joined in the exercise. 

“ The singing of the ancient Hebrews was differ- 
• ent from the can dilation practiced by the modern 
Jews in their synagogues ; and although much 
simpler than the artistic music of these days, there 
being but a single part, sung by all alike, only 
three, four, or five notes higher or lower, according 
to the range of the singer’s voice; and though 
louder and harsher than the modern taste would 
approve, still, doubtless, great musical effects were 
often produced. Take, for example, the singing of 
the one hundred and thirty-sixth Psalm. In this 
Psalm the people were invited to praise Jehovah 


2 Chron. v. 12-14. 


40 


THE SERVICE OF SONG. 


ns the God of Nature, and as the Deliverer, Guide, 
and Provider of Israel. At the close of every 
verse there is the regular recurrence of a burden 
or refrain—‘for His mercy endureth forever’— 
which was sung by all the people in chorus. 
What could be more sublime than those majestic 
responses ? In clear, sweet, cultivated tones, the 
Levite choir chant, ‘ O give thanks unto the Lord, 
for He is good,’ when instantly rises from the 
surging mass, like the voice of many waters, the 
commingled notes of priests, Levites, people— 
vocal and instrumental— ‘For His mercy endur- 
etii forever ! ’ With diminished volume again 
the Levite choir is heard: ‘ 0 give thanks to the 
God of gods,’ when the firmament again resounds 
with the same multitudinous refrain— ‘For His 
mercy endureth forever ! ’ An so on in reply 
to each separate summons— 

“ ‘ O give thanks to the Lord of lords; 

“ * For His mercy endureth forever ! 

“ ‘To Him who alone doeth great wonders; 

“ ‘ For His mercy endureth forever! 

“ ‘To Him that by wisdom made the heavens; 

“ ‘ For His mercy endureth forever /’ 

until twenty-six times, in answer to as many dis¬ 
tinct calls, the throng have sent up that shout; 
and every nerve is thrilling, and every soul is 
borne onward and upward on the tide of song to¬ 
ward the Infinite Being whose perfections and 
mercies are so meetly celebrated.” * 

# Rev. J. R. Scott. 


THE SERVICE OF SOHO. 


41 


The account of the Babylonish captivity forms 
a mournful chapter in Jewish history. During 
their exile the distress of the pious Hebrews was 
generally too great to admit of their singing the 
songs of Zion. We may suppose, however, that 
they occasionally recovered their spirits suffi¬ 
ciently to engage for a short time in this enliven¬ 
ing exercise. A most affecting picture of a com¬ 
pany of these devoted captives is drawn by the 
Psalmist. The day’s toils and sufferings are 
ended, and they have assembled on the bank of 
some stream, perhaps the Euphrates—“ the river 
of willows.” They have taken with them their 
musical instruments, and are followed by some 
of their oppressors. These taskmasters desire to 
hear the delightful music for which the Hebrews 
were, no doubt, famed. The request is, “ Sing us 
one of the songs of Zion.” The Israelites com¬ 
mence an old, familiar temple hymn, but sad 
memories of Judea and Jerusalem pass like dark 
waters over their souls. Their hearts are filled 
with sorrow and their eyes with tears; their voices 
falter and their fingers tremble along the harp- 
strings, as they call to mind the former magnifi¬ 
cence of the sacred city, the towers and bulwarks of 
Salem, and the frequent opportunities they once 
enjoyed of going up with the multitude to worship 
the Lord and to behold His beauty in the sanctuary. 
Jerusalem—“ beautiful for situation, the joy of the 
whole earth”—has been laid waste. The holy 


42 


THE SERVICE OF SOHO. 


house of the Lord is in ruins, and the sacred hill 
is profaned by the idolatrous heathen. This sor¬ 
rowful band of brethren may never live to see the 
year of release: they may never again gaze upon 
the vine-clad hills of their native land, nor walk 
the streets of the city of their solemnities. Hence 
the captive Psalmist says: 

“ By the rivers of Babylon, there we sat down. 

Yea, we wept when we remembered Zion. 

We hanged our harps upon the willows in the midst thereof. 

For there they that carried us away captive required of us a song; 
And they that wasted us required of us mirth. 

Saying, Sing us one of the songs of Zion. 

How shall we sing the Lord’s song 
In a strange land ? 

If I forget thee, O Jerusalem, 

Let my right hand forget her cunning. 

If I do not remember thee, 

Let my tongue cleave to the roof of my mouth; 

If I prefer not Jerusalem above my chief joy.” 

Let us now turn to the bright side of the picture. 
These peeled, scattered and disconsolate Israelites 
hail with transport the expiration of their term 
of bondage. The days of their mourning are 
ended, and they commemorate their deliverance 
in an ode, every syllable of which is burdened 
with joy. The edict of emancipation has been 
published by Cyrus, and these pious patriots are 
on their homeward march. Hear the jubilant 
notes of their pilgrim song: 

“ When the Lord turned again the captivity of Zion, 

We were like them that dream. 


THE SERVICE OF SONG. 


43 


Then was our mouth filled with laughter, 

And our tongue with singing: 

Then said they among the heathen, 

‘The Lord hath done great things for them.’ 

The Lord hath done great things for us, 

Whereof we are glad.” 

We scarcely need to “be reminded that the 
reconstructed city was surrounded by massive 
walls and graced with another temple. Of course 
the stated services were re-established, and, as 
has alrbady been intimated, were kept up with 
more or less regularity until the inauguration of 
the Gospel dispensation. 

It should be here noted that the faithful cap¬ 
tives not only returned with singing to Jerusalem, 
but that the voice of praise was heard at the lay¬ 
ing of the corner-stone of the second temple. It 
is said that “ When the builders laid the founda¬ 
tion of the temple of the Lord, they set the priests 
in their apparel with trumpets, and the Levites 
the sons of Asaph with cymbals, to praise the 
Lord, after the ordinance of David king of Israel. 
And they sang together by course in praising and 
giving thanks unto the Lord; because He is good, 
for His mercy endureth forever toward Israel.” * 

What a scene was that! The musicians singing 
and playing on instruments and the multitude 
shouting for joy, while many of the “ ancient 
men” wept aloud in view of the contemplated 


Ezra iii. io, n. 


44 


THE SERVICE OF SONG. 


inferiority of tliis temple to the one in which they 
had formerly worshiped. 

We read, also, that the Israelites “kept the 
dedication of this house of God with joy.” Ezra 
and Nehemiah attached as much importance to 
sacred music as David had done in his day, and, 
therefore, they not only “ set the priests in their 
divisions,” but also “ the Levites in their courses 
for the service of God.” 

From our last stand-point we travel down the 
stream of time, and for ages we gaze with tearful 
eye upon the barrenness and wickedness, and also 
upon the sufferings, of the Jewish Church. But 
the eclipse has at no time been total, and we 
finally hail the advent of the long-promised 
Messiah as the radiance of the magnificent sun 
streaming through rent clouds on the evening of 
a long and stormy day. 

Now we see the humble shepherds as they watch 
their flocks by night. They experience a painful 
surprise as the angel of the Lord appears, and as 
the glory of the Lord shines round about them. 
But their apprehensions of danger are put to flight 
as the heavenly messenger, with silvery voice, 
pronounces the words : “ Fear not: for behold, I 
bring you good tidings of great joy, which shall 
be to all people. For unto you is born this day, 
in the city of David, a Savior, which is Christ the 
Lord.” 

But the news is too good to be told only in plain 


the Service of song. 


45 


words of prose, it must also be proclaimed in tlie 
sweetest strains of celestial song. Behold! a 
happy and shining multitude from the skies form 
a glowing canopy above the heads of the enrap¬ 
tured shepherds, and the glad song—the natal 
hymn of the Redeemer—rises, and rolls, and 
reverberates: 

“ Glory to God in the highest, 

And on earth peace, good will toward men! ” 

We may suppose that the mission of the Son of 
God to earth caused a grand jubilee in heaven, 
and that these seraphic choristers turned for a 
time from the throne of the King of kings to bear 
the thrilling tidings to abject man. Hence the 
poet: 

“ In heaven the rapt’rous song began. 

And sweet seraphic fire 

Through all the shining legions ran, 

And strung and tuned the lyre. 

Swift through the vast expanse it flew. 

And loud the echo rolled; 

The theme, the song, the joy was new, 

’ Twas more than heaven could hold. 

Down through the portals of the sky 
Th’ impetuous torrent ran, 

And angels flew with eager joy 
To bear the news to man.” 

The Redeemer tabernacles among men for thirty- 
three years, and now the Man of sorrows—the Lord 
of glory—is to be crucified. It is night, and the 
Master and His disciples are in a large upper room 


4G THE SERVICE OF SONG. 

in the city of Jerusalem. The feast of the Pass- 
over has been celebrated for the last time by them, 
and the Lord’s Supper has been instituted. Each 
one of the little sorrowing band has partaken of 
the bread and wine, and the Savior utters the con¬ 
soling words: “ I will not drink henceforth of this 
fruit of the vine until that day when I drink it 
new with you in my Father’s kingdom.” Then, 
“When they had sung a hymn, they went out 
into the Mount of Olives.” 

The Paschal Psalms, or the Psalms composing 
the great Hallel or chant which the Jews used at 
the close of the Passover, were from the one 
hundred and thirteenth to the one hundred and 
eighteenth, inclusive. This Hallel was not all 
sung at once, but in parts, the last of which was 
sung at the close of the Passover. It is probable 
that the hymn sung by Christ and His disciples 
on the eve of their departure for Mount Olivet 
embraced the one hundred and eighteenth, which 
evidently refers to the Messiah. The words are 
exceedingly appropriate to the occasion, especially 
if we consider the Lord and His eleven faithful 
followers as turning away from their present griefs 
to contemplate the goodness of God in redemp¬ 
tion, the triumphant resurrection of the Crucified, 
and the unspeakable blessings conferred upon 
man through the Atonement. 

The one hundred and seventeenth Psalm is 


THE SERVICE OF SONG. 


47 


a most beautiful and stirring prelude to this 
Paschal song: 

“ O praise the Lord, all ye nations! 

Praise Him, all ye people! 

For His merciful kindness is great toward us; 

And the truth of the Lord endureth forever. 

Praise ye the Lord.” 

Then the one hundred and eighteenth: 

“ O give thanks unto the Lord, for He is good; 

Because His mercy endureth forever. 

Let Israel now say, 

That His mercy endureth forever. 

Let the house of Aaron now say, 

That His mercy endureth forever. 

Let them now that fear the Lord say. 

That His mercy endureth forever,” etc. 

How significant are some of the allusions in this 
Psalm, such as: “ Bind the sacrifice with cords 
even unto the horns of the altar.” If Christ and 
the apostles could sing in view of this sad scene, 
how much more should we rejoice and give thanks 
when we are assured that the illustrious Victim 
has, indeed, suffered and died, and that the God- 
man, having broken these cords asunder, has 
ascended triumphantly to heaven, where He ever 
liveth to make intercessions for us. Can we indi¬ 
vidually adopt the language of this same memor¬ 
able Psalm and sing from the heart: 

“ The Lord is my strength and song, 

And is become my salvation? ” 


48 


THE SERVICE OF SONG. 


Let saints on earth and in heaven nnite in the 
grand doxology with which the Psalm closes: 

“ Thou art my God, and I will praise Thee: 

Thou art my God, I will exalt Thee. 

O give thanks unto the Lord, for He is good; 

For His mercy endureth forever.” 

Memorable, indeed, is the first century of the 
Christian era. The Son of God lives, dies, rises, 
and ascends to heaven. The day of Pentecost 
dawns : the old dispensation expires ; the new 
dispensation begins. The shadows are dispersed 
by the rising Sun of Righteousness. The cum* 
brous and typical services prescribed by the cere¬ 
monial law of Moses are succeeded by the simple 
and spiritual worship which Christianity enjoins. 
The apostles, having been “ endued with power 
from on high,” go forth preaching in obedience to 
the Divine command. Has the Church had her 
hymns of praise during the darker ages of her 
existence, and will she have no songs to sing on 
this the brightest and best day that the world has 
seen since the fall? We turn to the precepts and 
practice of those holy men, who having seen Christ, 
preached Him to the world. 

They established churches in various parts of 
Asia, “beginning at Jerusalem.” At length “a 
man of Macedonia” appeared to St. Paul in a 
vision and called him to Europe. Paul and Silas 
went to the heathen city, Philippi, and preached. 


THE SERVICE OF SOHO. 


49 


Paul also cast the evil spirit out of a female servant 
who “brought her masters much gain by sooth¬ 
saying.” They stirred up the wrath of the popu¬ 
lace ; a mob was raised; the magistrates tore off 
the clothes of these persecuted saints; “ many 
stripes” were inflicted upon them; they were thrust 
into the inner prison, and their feet were made fast 
in the stocks. Sad spectacle! These men are far 
away from kindred and friends, confined in a 
loathsome dungeon, in the most uneasy posture 
imaginable. They are clad in rags; hungry 
and faint from the loss of blood, which still oozes 
from their lacerated bodies. But “at midnight 
Paul and Silas prayed and sang praises to God: 
and the prisoners heard them.” How sweet were 
these “ songs in the night! ” How refreshing to 
the drooping spirits of these faithful disciples of 
Christ! How acceptable to Him who before all 
temples prefers the devout, believing heart! 
What strange sounds to be heard in a heathen 
prison! How many hearts indurated with crime 
were charmed by these songs, and, in some meas¬ 
ure, prepared for the reception of the Gospel! The 
first Redemption hymn heard on European soil has 
now been sung: the last one will mingle its melody 
with the echoes of the resurrection trumpet. 

As to the words used by these pious sufferers, 
of course we have no definite information. We 
know, however, that they were well acquainted 
with the Book of Psalms, and from that great 
4 


50 


THE SERVICE OF SONG. 


magazine of sacred poetry they may have drawn 
the material of their songs. They may have sung: 

“ And the people which shall be created shall praise the Lord, 

For He hath looked down from the height of His sanctuary. 
From heaven did the Lord behold the earth; 

To hear the groaning of the prisoner, 

To loose those that are appointed to death, 

To declare the name of the Lord in Zion, 

And His praise in Jerusalem; 

When the people are gathered together 
And the kingdoms, to serve the Lord.” 

In various passages in the Apostolic Epistles 
singing is recognized as a component part of 
Divine worship. To the Corinthians St. Paul 
says: “ I will sing with the spirit, and I will sing 
with the understanding also.” 

To the Ephesians he says: “ Be filled with the 
Spirit! speaking to yourselves in psalms and 
hymns and spiritual songs, singing and making 
melody in your heart to the Lord; giving thanks 
always for all things unto God and the Father,in 
the name of our Lord Jesus Christ.” 

To the Colossians he says: “Let the word of 
Christ dwell in you richly in all wisdom; teach¬ 
ing and admonishing one another in psalms, and 
hymns, and spiritual songs, singing with grace in 
your hearts to the Lord.” 

A few years after these words were written, St. 
John the divine was banished to the Isle of Pat- 
mos, “for the word of God, and for the testimony 
of Jesus Christ.” But God was with him during 


THE SERVICE OF SONG. 


51 


liis exile on that lonely island in tlie midst of tlie 
Aegean Sea, and favored him with enrapturing 
views of the latter-day glory of tlfe Church and 
of the heavenly world. How charmingly did the 
songs of the redeemed fall upon his ears ! He 
says: “I heard a great voice of much people in 
heaven, saying Alleluia; salvation, and glory, and 
honor, and power unto the Lord our God: for true 

and righteous are His judgments.And again 

they said, Alleluia.And a voice came out 

of the throne, saying, Praise our God, all ye His 
servants, and ye that fear Him, both small and 
great. And I heard as it were the voice of a great 
multitude, and as the voice of many waters, and 
as the voice of mighty thunderings, saying, Alle¬ 
luia : for the Lord God omnipotent reigneth.” 

We have now reached the last page of the in¬ 
spired volume. Of course we have given only a 
general view of the Divine teachings on the sub¬ 
ject under consideration, without attempting to 
notice all that is said in regard to it. We pause 
a moment to retrospect the hallowed ground over 
which we have traveled. And, in the review, we 
can not fail to perceive at least one great truth 
which stands out in bold relief, both in the Old 
Testament and in the Hew — i. e ., that singing is 
an element of Divine worship, and that it 
should be conducted with that solemnity, fervor, 
and spirituality which should ever characterize 
devotional services. It was kept up in the' Church 




52 


THE SERVICE OF SOHO. 


from a very early period in tlie world’s history 
down to the close of the Apostolic day. The last 
of the inspired writers give no intimation that the 
service of song is to be temporary; but, on the 
contrary, they enjoin its observance, and give ex¬ 
plicit directions in reference to the spirit in which 
it is to be conducted. This department of worship 
was instituted by God himself, as was also the 
reading of the Scriptures, prayer, and preaching; 
and never having been abrogated, it remains to 
be perpetuated to the end of time. 

How strange that in the light of the Scriptures, 
so clear and strong, any one should conclude that 
the days of sacred song have long since passed 
away! It is gratifying to observe, however, that 
nearly all the branches of the Christian Church, 
however they may differ on other points, recog¬ 
nize singing as a part of Divine worship. 

Against this almost unanimous testimony of 
the Churches, the Society of Friends utter their 
decided protest. But this is not remarkable when 
we consider that they reject the ordinance of bap¬ 
tism in the face of the great commission, and the 
Sacrament of the Lord’s Supper, enjoined as it is 
by the positive command of the Master. 

Let us, then, give heed to the inspired teach¬ 
ings. Let all the members of the Church militant 
raise their voices in praise to the great “ Captain 
of our salvation,” and to these sublime and stir¬ 
ring notes let the “ sacramental host” march on 
triumphantly to the conquest of the world. 


THE SERVICE OF SONG. 


53 


PART FIRST. 


SINGING IN PRIVATE DEVOTION. 


Religion should be made a Personal Matter — Singing should have 
a place in Private Devotion — David and the other Psalmists — 
The Devout Laborer — Numerous Occasions of Gratitude and 
Praise—“O', Weep not for the Joys that Fade” — Death, 
only, considered Inexorable by the Ancient Grecians — The 
Albigensian Christians — Margaret Wilson — Charles Wesley —* 
John Wesley — The Little Girl in the far Southwest—Bishop 
Capers—The Rev. William Hoge — The Rev. W. G. Caples.. 

“ In ev’ry joy that crowns my days, 

In ev’ry pain I bear, 

My heart shall find delight in praise, 

Or seek relief in prayer.” 

We would emphasize the familiar truism, that 
religion should be made a personal matter. The 
Gospel addresses itself to individuals. Every 
member of the human family is personally guilty. 
Every one is exposed to wrath. Every one has 
been redeemed, and may be saved by a personal 
trust in the merits of Christ. Hence it is said: 
“Enter into thy closet.” Go alone to the mercy- 
seat. While you attach due importance to public 
and social worship, see to it that you serve God 



54 


THE SERVICE OF SONG. 


in your individual capacity. Do not lose your 
identity in the common mass of humanity, but 
sedulously cultivate a sense of your own responsi¬ 
bility. Pray to God in secret, and be rewarded 
openly. He who neglects private devotion, and 
looks forward to the Sabbath in the hope that, as 
a sponge, it will wipe out all the sins of the week- 
preceding, will go to the sanctuary with a cold and 
hard heart, and the services will be to him an irk¬ 
some task. The lamp of Christian experience will 
soon go out if it is not trimmed and fed in secret. 

Hor is there any reason why singing should not 
constitute an integral part of private devotion. 
This delightful exercise stirs the soul, quickens 
the believer’s faith, fans the flame of love, and 
thus fits him for his duties, trials and enjoyments. 

David, when harassed and persecuted by Saul 
and his allies, was sustained and soothed by the 
sweet influences of poetry and song. Cut off from 
the privileges of public worship, an exile dwelling 
in dens and caves of the earth, he expressed his 
gratitude for past mercies and his trust in God for 
the future, in odes the most touching and sublime. 
Oppressed with the cares of state, exposed to the 
privations and perils of the camp and the battle¬ 
field, he would, nevertheless, constantly maintain 
a devotional spirit. Hear the pious utterances of 
the “ monarch minstrel ” and others of the inspired 
Psalmists: 

“ I will bless the Lord at all times, His praise 


T1IE SERVICE OF SONG. 


55 


shall continually be in my mouth.” “Let my 
mouth be filled with Thy praise, and with Thy 
honor all the day.” “ In God we boast all the day 
long, and praise Thy name forever and ever.” 
“ Seven times? a day do I praise Thee, because of 
Thy righteous judgments.” 

The followers of Christ have often experienced 
how effectually the hours of solitude may be bereft 
of their loneliness by the uplifting of the heart to 
God in prayer and praise. 

The devout laborer, as he goes to his daily toil, 
mingles his morning songs with the tuneful lays 
of the lark. Hear his supplicatory hymn: 

“ O disclose Thy lovely face. 

Quicken all my drooping powers! 

Gasps my fainting soul for grace, 

As a thirsty land for showers. 

Haste, my Lord, no more delay, 

Come, my Savior, come away! 

** Dark and cheerless is the morn, 

Unaccompanied by Thee; 

Joyless is the day’s return. 

Till Thy mercy’s beams I see— 

Till thou inward light impart, 

Glad my eyes and warm my heart.” 

Ke turning from his work at the close of the 
day, he lifts his voice again and sings: 

“ The mellow eve is gliding 
Serenely down the west; 

So every care subsiding, 

My soul would sink to rest. 


56 


THE SERVICE OF SO]SGL 


“ The woodland hum is ringing 
The daylight’s gentle close 

May angels round me singing m 
Thus hymn my last repose. 

“ The evening star has lighted 
Her crystal lamp on high ; 

So, when in death benighted. 

May hope illume the sky. 

“ In golden splendor dawning. 

The morrow’s light shall break; 

O, on the last bright morning. 

May I in glory wake.” 

The mother is frequently left with no companion 
but her little one. She looks upon the tiny form and 
muses with maternal solicitude upon the destiny 
of the young immortal. She trembles in view of 
the dangers and sufferings to which the loved one 
is incident, but disburdens her heart by a hymn 
of invocation and praise to the God and Father 
of all. 

The Christian traveler is in a strange land. 
Strange habitations greet his vision and a strange 
language falls upon his ear. With a sad heart he 
contrasts these new sights and sounds with the 
familiar scenes of his native country and his child¬ 
hood’s home. He may never again behold the 
green trees and blue skies which looked down 
lovingly upon his youthful sports. The anxious 
ones whose hearts follow him in his wanderings 
may never hail his return. But he feels that he 
is about his Father’s business and on his way to 
his Father’s house. And now 

“How happy is the pilgrim’s lot!” 


THE SERVICE OF SONG. 


57 


How grateful is tlie song wliicli wafts his soul to 
the “ city in the skies! ” 

Every pious individual finds numerous occa¬ 
sions for gratitude and praise, such as the change 
of seasons, birth-days, deliverance from danger, 
and the reception of special blessings. Even 
afflictions are designed to “yield the peaceable 
fruit of righteousness,” and hence the injunction, 
“Rejoice evermore: pray without ceasing: in 
every tiling give thanks.” 

It is to be feared that in seasons of sadness and 
suffering we too often lose the spirit of praise: we 
make our requests to God, but not with thanks¬ 
giving. Thus we fail to receive the grace we need. 
Amid the fiercest storm let the soul be serene. 
Let the Divine character be contemplated; let 
the memory of past blessings be vivid; let present 
possessions and enjoyments be appreciated; let 
the “ exceeding great and precious promises ” be 
implicity relied upon, and let the “far more ex¬ 
ceeding and eternal weight of glory” be antici¬ 
pated. Then will the chastened child of God be 
so filled with gratitude and hope as to become 
unmindful of his anguish. 

“ O weep not for the joys that fade 
Like evening lights away ; 

For hopes that, like the stars decayed, 

Have left their mortal day ; 

For clouds of sorrow will depart, 

And brilliant skies be given, 

And though on earth the tear may start, 

Yet bliss awaits the holy heart 
Amid the bowers of heaven.” 


58 


THE SERVICE OF SONG. 


How often has the spirit of the dying saint been 
uplifted upon the pinions of song, his own falter¬ 
ing notes blending with the anthems of angels! 

We are informed that the ancient Grecians con¬ 
sidered death as the only god who would neither 
be moved by offerings nor conquered by sacrifices 
and oblations; and, therefore, he was the only one 
to whom no altar was erected, and to whom no 
hymns were sung. But, to the Christian, death is 
by no means so inexorable. Gaining the victory 
through our Lord Jesus Christ, the holy conquerer 
rises above “ the last enemy ” with grateful pseans 
upon his lips. 

Many of the martyrs sang until they breathed 
their last in the flames. It is said that during 
the persecutions by Simon de Montfort, in the 
thirteenth century, one hundred and forty Albi- 
gensian Christians were engaged in singing while 
they marched into the fire which had been kindled 
to consume them. 

Margaret Wilson, having been sentenced to 
death for her faith in Christ, was fastened to a stake 
in Solway Frith, between England and Scotland, 
to await the advancing tide. But she sang and 
prayed until the waves choked her voice. Many 
other examples might be given of the triumph of 
praise over the horrors of a violent death. 

“ Nothing, : ” says the Rev. Richard Baxter, 
“ comforts me more in my greatest sufferings, or 
seems more fit for me while I wait for death, than 


THE SERVICE OF SONG. 


59 


singing psalms of praise to God; nor is there any 
exercise in which I had rather end my life.” 

Charles Wesley finished his course in the eighti¬ 
eth year of his age. This prince of uninspired 
poets put his last prayer into verse. Calling his 
wife to his bedside, he desired her to write: 

‘‘In age and feebleness extreme, 

Who shall a helpless worm redeem ? 

Jesus, my only hope Thou art. 

Strength of my failing flesh and heart! 

O, could I catch a smile from. Thee, 

And drop into eternity! ” 

Beautiful and triumphant conclusion of a well 
spent life! 

The poet-preacher dropped his harp but for a 
moment:. He still lives; and, having reached “ the 
city of the Great King,” rejoicing in immortal 
youth and vigor, he continues to pour out his soul 
to God in love and praise. 

In his eighty-eighth year John Wesley entered 
into rest. The sunset of his long and memorable 
day was gloriously peaceful. In life, sacred song 
was the element in which he delighted to move, 
and in death it diffused around him a celestial 
fragrance. 

The day before his departure he sang that ex¬ 
cellent hymn, composed by his brother Charles: 

“ All glory to God in the sky, 

And peace upon earth be restored ! 

O Jesus, exalted on high, 

Appear, our omnipotent Lord; 


60 


THE SEKVICE OF SONCL 


Who meanly in Bethlehem born, 

Didst stoop to redeem a lost race j 
Once more to Thy people return, 

And reign in Thy kingdom of grace. 

“ O wouldst Thou again be made known. 

Again in Thy Spirit descend; 

And set up in each of Thine own, 

A kingdom that never shall end I 
Thou only art able to bless 

And make the glad nations obey; 

And bid the dire enmity cease. 

And bow the whole world to Thy sway.” 

♦ 

Later in the day he surprised the friends who 
wept around him Iby singing: 

“ I’ll praise my Maker while I’ve breath, 

And when my voice is lost in death 

Praise shall employ my nobler powers; 

My days of praise shall ne’er be past, 

While life, and thought, and being last. 

Or immortality endures.” 

Still later, after a brief but very fervent prayer, 
he raised his voice and sang two lines of the 
Doxology: 

“ To Father, Son and Holy Ghost, 

Who sweetly all agree.” 

Night came on, but to the expiring, rejoicing saint 
there was no darkness: an eternal day dawned 
upon his enraptured spirit. He frequently at¬ 
tempted to repeat the hymn which he had sung 
the preceding day, but could only utter, 

“ I’ll praise—I’ll praise.” 

The next morning, with a heart full of tranquil 


THE SERVICE OF SOHG. 


61 


joy, lie said to his friends, and to all sublunary 
things, “Farewell!” 

A few years ago there lived a beautiful little 
girl in the far Southwest. She was almost always 
smiling and singing, and every one praised her 
for her goodness. One day she lay down upon 
her bed, looking very pale, and said she was 
very weary. Her little hands grew cold, and 
great drops of clammy sweat stood on her fair 
young brow. And then her large blue eye grew 
bright and sparkling, and a heavenly smile irra¬ 
diated her pale features, and she exclaimed, 
“ Music! music! O, how sweet! ” Then, extend¬ 
ing her little arms, she said : “ I am coming! ” 
Instantly the spirit took its flight, and there was 
another songster in the angelic choir. 

“ Let music charm me last on earth, 

And greet me first in heaven.” 

On a certain occasion the late Bishop Capers 
was dangerously ill—in fact it was supposed that 
his end was near. But, with exultant faith and 
hope, he was ready to meet the last enemy. Having 
given, as he supposed, his dying charge to his 
sorrowing wife and children, and having bidden 
them farewell, he requested Mrs. Capers to write 
as he dictated the following couplet: 

“ O may I joy in all his life, 

And shout the Cross in death ! ” 

He then said, “ Give me the paper; I wish to draw 
a line under the words, And shout the Cross in 


62 


THE SERVICE OF SONG. 


death” repeating tlie expression several times. 
But the sickness was not unto death; it was sev¬ 
eral years after this that he was called to his re¬ 
ward. And, as he had anticipated, the Cross bore 
him triumphantly through the final conflict. He 
who took such unutterable delight in singing the 
praises of God on earth has assuredly gone to 

“Ask an angel’s lyre.” 

Blessed are they who, through faith, come forth 
from the Christian’s warfare singing the victor’s 
song! 

The Rev. William Hoge, an eminently pious 
and gifted minister of the Presbyterian Church, 
died recently near Petersburg, Ya. War, like 
a mighty earthquake, had convulsed the whole 
country from center to circumference, and among 
the last sounds that fell upon the ear of the 
dying Christian, were the distant thunderings of 
artillery. But, with these terrific sounds, the songs 
of Zion mingled their melody. The morning 
was unusually calm and bright, and Mr. Hoge, 
after looking out for the last time upon its light 
and beauty, requested those present to sing a 
hymn. 

How firm a foundation, ye saints of the Lord,” 

was sung, and he remarked: “It is enough; all 
that is comforting in the assurance of the Di¬ 
vine love and care seem to be there; nothing is 


THE SERVICE OF SONG. 


63 


omitted.” His own voice, in life, had been excel¬ 
lent, and when they began to sing, 

“ How sweet the name of Jesus sounds 
In a believer’s ear ! ” 

he could no longer remain silent, but joined with 
a trembling voice, imparting his whole strength 
and soul to the two last lines of the stanza: 

“ Weak is the effort of my heart, 

And cold my warmest thought; 

But when / see Thee as Thou art 
Pllpraise Thee as I ought .” 

Ilis face beamed anew with heavenly joy, and 
his voice grew fuller and deeper as he said: 

“And may the music of thy name 
Refresh my soul in death! ” 

Adding, after a brief pause, “I know but little of 
music now; but soon I shall be listening to the 
diapason of the universe.” 

Soon after this he passed away to rejoice with 
the shining ones in his Heavenly Father’s house. 

The Rev. Wm, G. Caples, of the Missouri Con¬ 
ference of the Methodist Episcopal Church, South, 
was one of the most gifted and successful minis¬ 
ters in the West. While in the meridian splen¬ 
dor of his life and labors, he died in Glasgow, Mo., 
October 11, 1864, of a wound received during a 
contest of the Confederate and Federal forces for 
the occupancy of the city. Mr. Caples was not a 
combatant, and the wound was not intentionally 
inflicted. “ The end of that man was peace,” yea, 


64 


TTEE SERVICE OF SONG. 


it was a glorious triumph over “ the last enemy.” 

The Rev. John D. Yincil says* that, after prayer 
had been offered, “ we all united in singing the 
last strains he ever heard till the music of the 
heavenly songsters broke upon his ear. "While 
we sang ‘I would not live alway,’ with him a 
favorite piece, his face brightened into a glowing 
radiance, reminding ns of the countenance of 
Stephen in the council when he preached his last 
sermon. Brother Caples attempted to join in the 
melody that was bearing his soul up to the place 

‘Where the saints of all ages in harmony meet.’ 

He was too weak, however, to sing, but repeated 
the zoords with deep feeling.” When the singing 
was concluded, the dying Christian hero said to 
Mr. Yincil, with the most settled composure and 
sweet serenity: “ My brother, my race is about 
run—suddenly cut short. I have unexpectedly 
reached the end. I shall soon be on the other 
shore.” 

Hear the sermon which the Gospel preaches to 
the dying believer: 

“Is thy earthly house distrest? 

Willing to retain its guest? 

’ Tis not thou, but it must die; 

Fly, celestial tenant, fly! 

Burst thy shackles ! drop thy clay, 

Sweetly breathe thy life away; 

Singing to thy crown remove, 

Swift of wing, and fired with love. 


•Bishop Marvin’s Life of Caples. 


THE SERVICE OF SONG. 


65 


“ Shudder not to pass the stream, 
Venture all thy care on Him— 

Him, whose dying love and powei 
Still'd its tossing, hush’d its roar. 
Safe is the expanded wave, 

Gentle as a summer’s eve; 

Not one object of His care 
Ever suffered shipwreck there. 

** See the haven full in view; 

Love divine shall bear thee through. 
Trust to that propitious gale; 

Weigh thy anchor, spread thy sail. 
Saints in glory, perfect made, 

Wait thy passage through the shade; 
Ardent for thy coming o’er, 

See, they throng the blissful shore. 

** Mount, their transports to improve, 
Join the longing choir above; 

Swiftly to their wish be given. 

Kindle higher joy in heaven. 

Such the prospects that arise 
To the dying Christian’s eyes; 

Such the glorious - vista, faith 
Opens through the shades of death.” 


5 


66 


THE SERVICE OF SONG. 


PART SECOND. 


SINGING IN THE FAMILY AND IN THE SCHOOL. 


CHAPTER I. 

SINGING IN TIIE FAMILY. 

Home — A Christian Home — Praise as well as Prayer should be 
Heard in the Habitations of the Faithful — Benefits of House¬ 
hold Praise — Why it is especially Beneficial to Children — We 
need Sacred Songs as an Offset against Bacchanalian or Ribald 
Songs — The Early Christians — The Westminster Assembly — 
Matthew Henry’s Remark — The Author’s Reminiscences — 
“Come to the Place of Prayer” — Family Choirs. 

“ Home, sweet home! ” At home infancy 
is cradled, childhood is nurtured, youth is 
guarded, manhood is inspired, age is supported 
and solaced. There sickness is healed and sorrow 
soothed. There weariness rests and anxiety finds 
repose. Home is a magnet which ever attracts 
the heart, whether we sail on distant seas or wan¬ 
der in foreign climes. It is a relic of paradise— 
a type of heaven. 

“ The pilgrim’s step in vain 
Seeks Eden’s holy ground; 

But in home’s holy joys, again 
An Eden may be found.” 




THE SERVICE OF SONG. 


67 


This, however, can only be said of a Christian 
home. In this little empire love must reign with 
undisputed sway, or the type has but little signifi¬ 
cance. “ He setteth the solitary in families,” that, 
around the hearth-stone, affection’s golden chain 
may sweetly link heart to heart, and all hearts to 
the God of love. The express design of this 
institution is, that the parents being holy, the 
children may be schooled into habits of piety. 
Thus the young are to be prepared for a life of 
usefulness and happiness, and for a joyful immor¬ 
tality. There should be, in some sense, a Church 
in every house. There are family wants and 
family blessings; and hence there should be 
family prayer and praise. In the Scriptures those 
families that call not upon the name of the Lord 
are placed in a category with the heathen; but it 
is said that “ the house of the righteous shall 
stand.” It is scarcely necessary to urge that the 
habitations of the faithful should be vocal, morn¬ 
ing and evening, with praise as well as prayer. 

“ It is a good thing to give thanks unto the Lord, 
and to sing praises unto Thy name, 0 Most High: 
to show forth Thy loving kindness every morning, 
and Thy faithfulness every night.” 

“ Sing unto the Lord, bless His name: show forth 
His salvation from day to day.” 

This delightful exercise can not fail to elevate 
the aims, tranquillize the spirits, and intensify the 
love of parents, children and servants. We may 


68 


THE SERVICE OF SONG. 


well suppose that angels on errands of mercy 
pause to listen to the songs which go up from a 
holy household. Yea, the God of angels hears 
with approbation these ascriptions of praise. 

The opinion has been confidently advanced, that 
where there is singing at the family altar, tlio 
children are more likely to be brought under 
religious influences, and to become disciples of 
Christ at an early age, than in those families in 
which there is no service of song. If this be 
so, is not singing in family worship a matter of 
prime importance ? 

The reasons for the opinion referred to are, it 
would seem, conclusive. When there is singing, 
the child is much more apt to become a partici¬ 
pant in the worship than when this pleasing exer¬ 
cise is omitted. The reading of the Scriptures 
and prayer are comparatively uninteresting to 
those who are of tender years; but singing engages 
the voice and enlivens the spirits, and is withal 
such a service as the young generally delight in. 
Hence it is altogether probable that impressions 
are made upon the susceptible heart by means of 
melodious sounds, which would not be made with¬ 
out this fascinating and influential agency. 

Much stress should also be laid upon the fact 
that the youthful memory being exceedingly tena¬ 
cious, impressions made upon the child are likely 
to be indelible. The great incidents in the history 


THE SERVICE OF SOHO. 


of tlie Israelites were woven into song, and these 
eucharistic epics were required to be diligently 
taught to their children. So, in the present day, 
the simple doctrines and thrilling events of Chris¬ 
tianity should be wrought into verse and imprinted 
upon the juvenile mind by the power of music. 
Truths thus inculcated will cling to the soul for¬ 
ever. We all know that cherished memories of 
home and friends are written upon the immortal 
mind with such enduring vividness that the record 
can never be effaced. But in all the reminiscences 
of days gone by,there is nothing that so haunts 
the spirit as the songs to which we were accus¬ 
tomed in childhood. 

The sweet tones of a mother’s voice will live and 
speak in the heart long after that familiar sound 
has been hushed into silence. The recollection of 
the songs of Zion which were first heard amid the 
throng of worshipers in the city, or in the em¬ 
bowered country church, will remain in morning 
freshness long after the sanctuary has mouldered 
into ruins. We may cross oceans and wander in 
foreign climes; the erect frame may be bowed with 
the weight of years, and raven ringlets may be 
converted into locks of snowy whiteness ; but the 
old home-songs heard in the distance in the still 
morning, or sung by ourselves in some calm hour 
of reflection, or by the home-circle on a winter’s 
evening, will bring around us the friends and the 
scenes of other days and of far-off lands; and. 


70 


THE SERVICE OF SONG. 


while the dim eye of 'age sparkles with unwonted 
brilliancy, the heart will beat with the buoyancy 
of early youth. 


“ When thro’ life unblest we rove, 

Losing all that made life dear, 

Should some notes we used to love 
In days of boyhood meet our ear, 

Oh! how welcome breathes the strain! 

Waking thoughts that long have slept, 
Kindling former smiles again 
In faded eyes that long have wept. 

“ Like the gale that sighs along 
Beds of oriental flowers, 

Is the grateful breath of song, 

That once was heard in happier hours; 
Fill’d with balm, the gale sighs on, 
Though the flowers have sunk in death; 
So, when pleasure’s dream is gone, 

Its memory lives in music’s breath.” 


It is not at all improbable that the songs learned 
in the nursery, or around the fireside,will be used 
by the Holy Spirit in after years as the instru¬ 
mentalities of conviction, conversion, and final 
salvation. On the contrary, bacchanalian or ribald 
songs, which are apt to be learned and used by 
those who are unaccustomed to religious melodies, 
are, in the hands of the Destroyer, a most potent 
means of spiritual and everlasting ruin. Shall we 
quietly allow this tremendous power to pass into 
the hands of the enemy, or shall we not eagerly 


THE SERVICE OF SONG. 


71 


seize upon it as our lawful right, and wield it for 
the good of our race and the glory of God ? 

“ Who on the part of God will rise? 

Innocent sounds recover— 

Fly on the prey, and seize the prize. 

Plunder the carnal lover. 

** Strip him of every moving strain, 

Every melting measure; 

Music in virtue’s cause retain. 

Rescue the holy pleasure.” 


It will, doubtless, be admitted that singing 
as a part of family worship is by no means as 
generally observed as it was in former days. 
While in many things we have advanced, at this 
point we have retrograded. Suppose we were to 
dispense with singing in the Church, how sadly 
would Zion be shorn of her beauty and power! 
How comparatively dreary and feeble would be 
the services! And is not this the very effect which 
lias been produced by the discontinuance of sing¬ 
ing in the Church*in-the-house with which our 
children are especially identified ? 

Why should not a worshiping family sing? 
Have we not sufficient time to spare from secular 
engagements ? Is the work too arduous ? Is the 
exercise calculated to do no good? Will not the 
same reasons which would justify us in the habit¬ 
ual neglect of singing at the family altar also 


72 


THE SERVICE OF SONG. 


justify us in dispensing with the reading of the 
Scriptures and prayer ? 

It is said of the early Christians that their family 
devotions consisted of the reading of the Scriptures, 
singing and prayer, and that this household wor¬ 
ship was engaged in four times every day. Happy 
households! Their children were especially taught 
to sing the wonders of Redemption. 

In the year 1644, the Westminster Assembly 
declared the singing of psalms to be a duty in 
which all Christians should engage, both in the 
congregation and in the family. 

Matthew Henry says : “ He who reads does well; 
he who reads and prays does better; but he who 
reads, sings and prays does best of all.” 

The writer well remembers the sojourn of the 
ministers of the Gospel at his father’s house as 
among the happiest hours of his boyhood days; 
but he has no recollection of ever being present 
at worship under the paternal roof, which was 
regularly kept up morning and evening, when 
singing did not constitute a prominent part of the 
service. Let this Scriptural, time-honored custom 
be perpetuated. At least twice a day, let every 
home be gladdened with tuneful worship, and, as 
we see our children uniting in the service, let us 


THE SERVICE OE SONG. 


73 


thank God that “ out of the mouths of babes and 
sucklings He lias perfected praise.” 

“ Come to the place of prayer! 

Ye band of loving hearts, O come and raise, 

With one consent, the grateful song of praise 
To Him who gives you a lot so fair. 

** So in the world above, 

Parents and children may meet at last, 

When this their weary pilgrimage is past, 

To mingle their joyful notes of love.” 

Wherever it can be done, family choirs should be 
formed and maintained. If parents and children 
would frequently spend the evening in singing, the 
most happy effects would ensue. The gay world 
spreads out before the young its bewitching at¬ 
tractions, and they are ever prone to overstep the 
line which separates the territory of innocent 
enjoyment from the enchanted ground of sinful 
pleasure. To enable them to resist these danger¬ 
ous fascinations, let home be made an Elysium. 
The concord of sweet sounds, in the bower or 
around the fireside, will be a formidable rival to 
the fashionable follies of the ball-room, and to the 
ensnaring convivialities of the drinking-saloon. 
At home let music and flowers, and all other inno¬ 
cent and lovely things, be laid under contribution, 
and an influence will be exerted upon the young 
mind which will lead to high aspirations and 
noble deeds. The flowing numbers of song act as 
so many fleet-footed scape-goats to bear the genius 


74 


THE SERVICE OF SONG. 


of family broils far away into the wilderness. 
How can parents be impatient or irascible in the 
midst of music? How can children be petulant 
or disobedient ? How can servants be obstinate 
or rebellious ? In this world, where there is so 
much to irritate and annoy, let us, as far as we 
can, make the atmosphere about us tremulous 
with soothing sounds. 

Every family is subject to reverses and afflic¬ 
tions, but a musical family can scarcely be un- 
happy. Amid the wane of fortune and the shadows 
of distress, music charms the desponding heart, 
leading it onward to the light of sunny days 
which are yet to dawn. 


THE SERVICE OF SONG. 


75 


CHAPTER II. 

SINGING IN THE SCHOOL. 

Music should be Taught in all our Literary Institutions — Pupils can 
usually learn Music witji ease — General Conference Action — 
Bishop Andrew on the same subject—Singing in the Schools in 
Prussia — What Luther says — President J. M. Bonnell — Dr. 
Thomas Hastings — N. D. Gould — Dr. Rush Recommends 
Vocal Music—Horace Walpole — Instrumental Music in Female 
Colleges — Bishop Andrew desires Sacred Songs — Singing in 
the Sabbath-school — The Singing of Children — A Musical 
Theology for Children. 

It is self-evident that the pupil should he 
taught, as far as possible, everything that will 
conduce to success in this life and to happiness in 
the life to come. Hence we conclude that music, 
whose influence is most animating and benign, 
should be taught in all our literary institutions. 

In view of the fact that music is a beautiful and 
useful science, is it not strange that it has been so 
much neglected in this land which boasts so loudly 
of a high Christian civilization ? And yet thous¬ 
ands of American youth of both sexes have passed 
from the nursery to the school, and thence to the 
college, and have graduated with the highest scho¬ 
lastic honors, in total ignorance of the science of 
music! To the literati in other countries it must 


76 


THE SERVICE OF SONG. 


appear marvelous that in many of our institutions 
for males, from tlie primary school to the most 
renowned university, there are no facilities, af¬ 
forded for the acquisition of musical knowledge. 
Music is not in the curriculum ; it claims no day, 
no hour, from the beginning to the close of the 
student’s career: it is ignored as if not worthy of 
the attention of educated men. 

As a science, music, of course, has its philosophy. 
It is at the farthest possible remove from an arbi¬ 
trary blending of incoherent fragments. It has 
its rules and its reasons—its theory and its prac¬ 
tice. Therefore, while it greatly enhances our 
usefulness and happiness, the study of the science 
is an excellent means of mental discipline. 

Is it not manifest that, in all our schools, acade¬ 
mies and colleges, instruction should be given in 
vocal music? We should certainly make the 
practical admission that the science which espe¬ 
cially aids us in the worship of God is as import¬ 
ant as the science of numbers, by which we carry 
on trade and increase our earthly substance. We 
should be as ready to eliminate arithmetic from 
the course of studies prescribed for the young as 
to omit music. 

Let no one conclude that we would impose upon 
teachers an unreasonable burden. Very few per¬ 
sons are destitute of the ability to sing, and all 
sane persons are capable of acquiring the science 
of music. Every teacher who is worthy of the 


THE SEKVICE OF SONG. 


77 


name can, with proper effort, give instruction in 
this branch of learning as in any other department. 
There is no real difficulty in the way. 

Let it not be supposed that the science is too 
abstruse to be acquired by boys and girls: the 
success uniformly achieved wherever due exertion 
has been made gives a palpable contradiction to 
the hypothesis. A youth of suitable age who is 
incapable of understanding the principles of vocal 
music, when simplified and explained by a com¬ 
petent teacher, is incapable of mastering any 
science whatever, and the case may be given up 
as hopeless. 

Unlike most other studies, this is a delightful 
recreation rather than a work of toil and fatigue; 
for, while its principles are clearly developed and 
systematically presented to the pupil, there is an 
inspiration connected with the practical part 
which refreshes and invigorates the mind. 

Nearly every one has a natural fondness for 
singing; but, in the case of thousands, this de¬ 
sire is permitted to lie dormant until it dies 
for want of exercise. Take any other science— 
chemistry, for example—and, leaving it out of the 
regular school and college course, trust to its being 
learned by chance in a few lessons given by an 
itinerant lecturer, or otherwise, and how many of 
the educated in our country would have a taste for 
it, or be proficient in it? We can easily account 
for the deplorable neglect of music which exists in 


78 


THE SERVICE OF SOXG. 


many parts of the United States and elsewhere, 
on the ground that the talent for it is not called 
into exercise in the most impressible and buoyant 
period of life. Daily let the school-house and the 
academy ring with the glad voices of the enthusi¬ 
astic tyros, and there is no danger that the science 
will be forgotten, or fall into desuetude, in the 
college, or in after life. 

We never can be a nation of singers until we 
follow the example of the Germans and enthrone 
music in the temple of knowledge, as we have 
done the other sciences. For the last few years a 
gratifying advance in this direction has been 
manifest in this country, as well in the South as 
in the.North, but the reform is yet in its infancy. 

The action of the General Conference of the 
Methodist Episcopal Church, South, in the year 
1838, on this subject, is especially gratifying and 
prophetic of reform. The Deport of the Committee 
on Education, which was adopted by the Confer¬ 
ence, is very emphatic, as will be seen by the fol¬ 
lowing extract: “ It is believed that vocal music 
could be introduced with advantage into all our 
primary and preparatory schools as a constant 
and required exercise. We rejoice to know that 
efforts are making in some quarters to promote 
this end. We trust that the Church will sustain 
these laudable efforts by getting up and publish¬ 
ing suitable music, and by every other practicable 
method. Surely there is no poetry more beautiful 


THE SERVICE OF SONG. 


79 


or sublime than sacred poetry: no music better 
calculated to move the heart than sacred music. 
Is it not, then, a burning shame that it is so 
neglected in our Church schools? We would 
most earnestly urge all who have these educa¬ 
tional interests under their control to look well to 
this matter.” 

Let the very important fact brought to view 
in the foregoing extract be carefully considered. 
In distinct and very earnest tones the voice of 
the Church has gone over her wide-spread terri¬ 
tory, calling to all her members and friends, and 
especially to her educators, to take steps for the 
impartation of instruction in music in all schools 
under her influence. 

Let us hear Bishop Andrew, of the same Church, 
on this subject. Speaking of the Report from 
which we have just quoted a paragraph, he says: 
“ There is another subject noticed in it which de¬ 
mands a passing word. It is the recommendation 
of music as a proper part of the course of study 
in all our institutions of learning. We are glad 
that attention is called to this subject, and hope 
that those who direct our educational operations 
will give it their serious and early attention. We 
believe that education, properly understood, is the 
cultivation of all the faculties which can be made 
available for our improvement, mentally, morally 
and physically. 

“ Music forms an important part in the course 


80 


THE SERVICE OF SOHO. 


of instruction. In Prussia it enters into the course 
from the primary school up, with a view to im¬ 
prove the voice, and also to enable the pupils to 
unite in the solemn services of religion—very im¬ 
portant objects, both of them, which we in this 

country too much ignore.Should we 

not begin, even in childhood, to learn and practice 
the delightful lessons which shall employ our 
powers in all their exalted perfection in that 
bright world to which at last we hope to go?” 

We may add that the schools in Prussia are 
always opened and closed with religious exercises, 
of which the singing of hymns forms a part. “ The 
teachers in those schools say that they regard 
the singing as the most efficient means of bring¬ 
ing a scholar under a perfect discipline by moral 
influence ; and that, in the case of vicious youth, 
the reading of the Bible and the singing of hymns 
are among the most efficient instruments employed 
for softening the hard heart and bringing the 
stubborn will to docility.” 

Luther says: “ I desire that the young, who 
ought to be educated in music as well as in other 
good arts, may have something to take the place 
of worldly and amorous songs, and so learn some¬ 
thing useful and practice something virtuous.” 

In the schools founded on the plan of Luther 
and Melanctlion, nearly one-fourth part of the 
school hours was devoted to music. As the result 
of these efforts, “ the hymns spread among all 


THE SERVICE OF SONG. 


81 


classes of people, and were sung not only in the 
churches and schools, but also in the houses and 
in the workshops, in the streets and in the market¬ 
places, in the barns and in the fields.” 

President J. M. Bonnell, of the Wesley an Female 
College, in an earnest plea for “ a varied but 
homogeneous, universal, permanent and heart- 
stirring Church music,” says: “ Our male colleges 
and universities must take this matter in hand. 
They must place in their Faculties a chair of mu¬ 
sic. It could very properly be combined with 
oratory, and the incumbent be called the Profes¬ 
sor of Yocal Culture. But that in each case would 
depend up,on the happy accomplishment of the 
Professor himself. What we recommend is, that 
a gentleman of true scholarly attainments, accom¬ 
plished in the whole science of music, able to 
teach and train the voice, shall be admitted to 
equal rank with the other Professors, and be re¬ 
quired to instruct all the students, or so many as 
would avail themselves of the privilege, in the 
principles and practice of singing. For the sake 
of those who expect to become teachers, he should 
inculcate the true manner of inducting young pu¬ 
pils into a knowledge of musical notation and 
some skill in singing from it, and, especialty, in 
those principles of good taste which are connected 

with congregational singing.The 

educated men of the Church must come to the 

rescue in this matter. They must give their coun- 
6 


82 


THE SERVICE OF SONG. 


tenance to vocal musical culture. They must in¬ 
vite it, if not demand it, in the teachers of their 
hoys’ schools, and our colleges must inaugurate 
the movement.” 

Dr. Thomas Hastings, who has done so much 
to advance the cause of Church music in America, 
remarks, that “ early cultivation in this art, when 
rightly directed, is uniformly successful.” 

N. D. Gould, Esq., one of the first teachers of 
juvenile music schools in this country, speaking 
of the difficulties with which he had to contend 
about forty years ago, says: “ It was a new idea, 
and no one wished to commence the experiment. 
The general impression and language was, that 
for children to sing while young would injure their 
voices, their health, and take their attention from 
other studies ; and, although to learn to sing was 
well enough, still it was of secondary consequence. 
It might be done if perfectly convenient; if not, it 
was just as well to omit it. Although it could be 
made evident that the employment was a pleasant 
one, useful through life, and a source of comfort 
when many other branches of education would 
cease to be useful, or even to be noticed, yet, after 
all the persuasion in our power, we could not suc¬ 
ceed in obtaining a class until we resorted to the 
expedient of teaching the art of writing in con¬ 
nection with music—writing and singing altern¬ 
ately half an hour for two hours. 

“ In this way, for the sake of the writing, we col- 


THE SEKVICE OF SONG. 83 

lected schools of about twenty-five each, at three 
different points, and our patrons were so well satis¬ 
fied with the experiment, that after one term there 
was no difficulty in collecting scholars to attend 

to singing alone.It was a well-known 

fact in all places, notwithstanding the fears ex¬ 
pressed by parents that it would injure the voice 
and health, that the best voices and the best singers 
were those who belonged to musical families, who 
were accustomed to sing from childhood upward; 
and those who feared injuring the lungs did not 
consider how any part of the system is strength¬ 
ened by constant use; and we presume the same 
parents never troubled themselves about the cry¬ 
ing and screaming of their children through fear 
of injury to their lungs. Much less should they 
fear the gentle exercise of the voice to make 
melodious sounds. Besides, the child that loves 
to sing will be singing something, in some way, 
whether taught or not. How necessary, then, that 
they learn to sing understanding^! As to its di¬ 
verting the mind from other studies, experience has 
proved the contrary. Teachers of common schools, 
where singing is made a part of the exercises, 
have universally acknowledged that the best 
singers were usually the best scholars in other 
studies.” 

Some years ago, in a Western city, a gentleman 
proposed the introduction of vocal music into the 
public schools; but the opposition to the measure 


84 


THE SERVICE OF SONG. 


was general and decided. He then proposed to 
teach the scholars in two of the schools gratis for 
one year. The proposition was accepted, and four 
schools, instead of two, received instruction from 
him in singing. At the close of the year the evi¬ 
dence in favor of the plan was so conclusive that 
he was- employed for the year ensuing—a liberal 
salary being given him—to teach in a large num¬ 
ber of schools, and when he concluded his labors 
others were employed in his stead. 

Dr. Hush, in his Essay on Elocution, says : “ To 
those who have studied human nature, it will not 
appear paradoxical to recommend a particular 
attention to vocal music; its effects in civilizing 
the mind, and thereby preparing the young for the 
influence of religion and government, have so often 
been felt and recorded that it will be unnecessary 
to mention facts in favor of its usefulness.” 

Again, in his Essay on Female Education, Dr. 
Hush remarks, that “Vocal music should never 
be neglected in the education of a young lady in 

this country.The exercise of the organs 

of the breast, by singing, contributes very much 
to defend them from those diseases to which they 
are exposed by our climate and other causes. Our 
German fellow-citizens are seldom affected with 

consumption.This, I believe, is in part 

occasioned by the strength which their lungs 
acquire by exercising frequently in vocal music. 
Mr. Adger informed me that he had known sev- 



THE SERVICE OF SONG. 85 

eral instances of persons strongly disposed to 
consumption wlio were restored to health by the 
moderate exercise of their lungs in singing.” 

Horace Walpole says: “Teach your children 
music. You will stare at a strange notion of 
mine; if it appears even a mad one, do not won¬ 
der. Had I children, my utmost endeavors would 
be to breed them musicians. As I have no ear, 
nor even thought of music, the preference seems 
odd; and yet it is embraced on mature reflection. 
It is the most probable method to make them 
happy. It is a resource that will last them 
through life.” 

We have now heard an expression of opinion 
in regard to the utility of vocal music in schools, 
from the Church, the great reformer, the bishop, 
the college president, the veteran music teacher, 
the common school authorities, the eminent phys¬ 
ician, and the Earl of Oxford. To these favorable 
and forcible utterances much more might be 
added, but we forbear. 

The foregoing paragraphs refer particularly to 
vocal music. We venture a few suggestions in 
regard to instrumental music in female colleges. 
Respecting the style of music most to be desired, 
we take occasion to express a decided preference 
for that which is comparatively plain and simple. 
W"e would not decry science, nor reject artistic 
excellence; but we submit that what are usually 
called fashionable or operatic performances have 


86 


THE SERVICE OF SONG. 


in tliem an excess of art, savoring of affectation, 
reminding us of bombast in oratory or gaudi¬ 
ness in apparel. A style less pretentious is more 
in unison with nature, sweeter and more subduing 
in its effects—more powerful to thrill and capti¬ 
vate the soul. 

We think, too, that the music used should be 
very carefully selected. Amorous or theatrical 
pieces, and Ethiopian melodies — all effusions 
which tend to degrade the taste, enfeeble the in¬ 
tellect or vitiate the heart, should, of course, be 
promptly eschewed. 

Our female colleges operating under Church 
auspices, are pledged to guard their pupils against 
evil, influences, and to lead them along in the 
straight and narrow way. Those pupils who have 
been destitute of religious instruction at home 
should here be taught “ the wisdom which is from 
above,” while the piety of religious pupils should 
be carefully fostered. Vital Christianity without 
bigotry and proselytism, should be the motto of 
every institution. 

It has been well said that music has a moral 
character independently of the poetry to which it 
is set. This moral character must be much more 
decided and influential when the sounds are made 
to give expression to words. Whatever sentiment 
is clad in the garb of poetry and music must have 
a remarkable potency, either for good or evil, and 
especially when the subject upon which it acts is 


THE SERVICE OF SONG. 


87 


as delicate and susceptible as the opening flower. 
How carefully, then, should we exclude from our 
Christian female colleges and schools all musical 
publications of injurious tendency ! 

Doubtless quite an improvement might be made 
in many institutions by clearing away all the 
sentimental trash which may be found within their 
walls, and substituting instead thereof a good 
supply of sacred pieces. As to poetry, “ there are 
no songs comparable to the songs of Zionand, 
as to music, there is none better fitted to charm 
the ear and stir the soul than that which Divine 
worship has hallowed. 

Bishop Andrew says: “ Our schools often 

employ some one with an unpronounceable name, 
who is often an infidel, or, if not thoroughly so, 
at least he ignores all spiritual religion, and to 
him we commit the musical training of our beau¬ 
tiful, and amiable, and sensitive, and impressible 
daughters. No wonder we can hardly ever get a 
sacred song out of one of them. We call on our 
daughters for music, and they cram us with a 
waltz, or some wild, moon-struck love ditty! 
Surely it is time these matters were mended; and 
to the Church, to the Christian schools of the 
country, we must look for reform.” 

We can not more appropriately close this chap¬ 
ter than by devoting a few paragraphs to the 
subject of music in the Sabbath-school. 

It is difficult to give to the institution a thor- 


88 


TIIE SERVICE OF SOXG. 


oughly religious character. It is to be feared that 
in many of our Sabbath-schools there is a sad 
want of spirituality. How may the young heart 
be softened? How may the thoughts be directed 
heavenward ? How may the children be impressed 
with the great fact that they have assembled for 
the express purpose of learning how to be holy 
and happy ? 

Great importance should certainly be attached 
to the devotional services, and, in these exercises, 
singing should have a prominent place. Singing, 
not to display the industry and tact of the teacher, 
nor the smartness of the scholar, but singing in 
which God is earnestly and reverently praised. 

We have reason to believe that, in many of our 
Sabbath-schools,the song service only extends to 
two or three stanzas at the opening of the school, 
but few of the children sing, and but little interest 
is felt in the exercise. How much is lost in con¬ 
sequence of this indifference it is impossible to 
ascertain. But we are glad to know that the sing¬ 
ing in some of our schools is such as to illustrate 
the beauty and utility of juvenile sacred song. 
There is an attractiveness, an inspiration in it 
that thrills the child’s heart, breaks the monotony 
and beguiles the tedium of the ordinary routine, 
and brings to mind the holy employments and 
rapturous joys of saints and angels in heaven. 

If singing should constitute a daily exercise in 
literary institutions, how much more should it 


THE SERVICE OF SOHO. 


89 


claim attention in the Sunday-school? We can 
not too forcibly urge upon all superintendents and 
teachers the great importance of cultivating in the 
youthful mind the love of sacred song. We be¬ 
lieve that by this means many a languishing 
Sunday-school might be resuscitated, and that 
many that are in successful operation might be 
greatly improved as to the character of the influ¬ 
ence exerted. If we would impart to the institution 
a lively, jubilant, aggressive character, we must 
engage the voices, charm the ears and exhilarate 
the souls of those who attend. Oh, for the power 
of song to give a new impulse to this great enter¬ 
prise ! 

Where the children sing well, the reflex influ¬ 
ence upon the teachers, the parents, and upon the 
world is most salutary. What heart has not been 
melted with the sweet, artless strains which pro¬ 
ceed from the lips of childhood? At Sabbath- 
school festivals it is not unfrequently the case that 
the singing is the chief attraction. Sometimes it 
sounds as if a company of seraphs had come from 
the spirit land to give us a specimen of angelic 
minstrelsy. This shows what children can do 
when properly trained. 

“There is,” says Longfellow, “something ex¬ 
ceedingly thrilling in the voices of children sing¬ 
ing. Though their music be unskilful, yet it finds 
its way to the heart with wonderful celerity. 
Voices of cherubs are they, for they breathe of 


90 


THE SERVICE OF SONG. 


paradise; clear, liquid tones, that flow from pure 
lips and innocent hearts, like the sweetest notes 
of a flute, or the falling of water from a fountain.” 

The good effect of proper attention to singing 
in our Sabbath-schools would soon be visible in 
the Church service. The children having learned 
many of the hymns and tunes, and having im¬ 
bibed the spirit of singing, would naturally desire 
to join with the congregation in the service of 
praise; and this would have a powerful tendency 
to make the worship pleasant and profitable 
to them. Nor would it be long before the 
best singers would be found to be those who had 
been trained in the Sabbath-school. This is in 
fact the most successful mode of improving our 
Church music. 

“ Our best reliance,” says Mr. Willis, “for the 
support of congregational song is, I am satisfied, 
that which, perhaps, might not at first suggest it¬ 
self—children. Children are the future Church. 
But, aside from this, the earnestness of their young, 
fresh natures; the facility with which they learn; 
the pathetic innocence of their voices, and the 
strong appeal of their example, as well as their 
music, to the hearts of parents and older persons 
present, render them of signal service in congre¬ 
gational song.” 

Then let the children cry, Hosanna! in the tem¬ 
ple. Give us for them a poetical, musical theology. 
Let the Sabbath-school be, in reality, the school 


TFIE SERVICE OF SONG. 


91 


of Christ. Attune infantile voices for nobler strains 
in the New Jerusalem. Let tlie young soldiers in 
the army of the Lord march forth to the conflict 
to the inspiring notes of sacred music; and when 
the warfare is ended, let their victories be cele¬ 
brated in the poetry and song of immortality. 


92 


THE SERVICE OF SONG. 


PART THIRD. 

SINGING IN THE WORSHIPING CONGREGATION. 


SECTION I.—WHO SHOULD SING? 


CHAPTER I. 

ALL SHOULD SING. 

The Object of Congregational Singing — Many of our Hymns are 
Prayers — Singing takes its stand with Preaching and Praying— 
Congregational Singing the Oldest Style of Music in the Chris¬ 
tian Church — The Transition to the Clergy — Luther Restored 
Music to the People— Singing a part of Divine Worship — White- 
field’s Preaching and the Singing — The Hibernian in the Sack at 
Wexford — The Tavern-keeper — Musical Works issued by the 
Wesleys — Rules in the Methodist Discipline — But few, com¬ 
paratively, Sing — Preachers must Lead in the Reformation. 

“ Lord, how delightful ’tis to see 

A whole assembly worship Thee! 

At once they sing, at once they pray; 

They hear of heaven and learn the way. 

I have been there, and still would go; 

’Tis like a little heaven below.” ■— Watts. 

9 

In answering tlie question, Who should sing? 
let us recur to the fact that the object of congre¬ 
gational singing is the worship of God. The word 
worship, in its primary signification, gives us the 




THE SERVICE OF SONG. 


93 


idea of worth, worthsliip, or worthiness. Keligious 
worship is the act of paying Divine honors to the 
Supreme Being. The forms of worship are various. 

All the exercises and ordinances pertaining to 
the Church are designed to he means of grace— 
media through which the soul is uplifted to God, 
and through which spiritual supplies are conveyed 
to the soul. Hence it is obvious that all the de¬ 
partments of Divine service should he so arranged 
and conducted as to conduce most directly and 
fully to this end. Prayer should he offered at the 
right time, and in the right spirit. Suitable por¬ 
tions of the Word should he read with becoming 
earnestness and solemnity. The preaching should 
he evangelical, plain, practical, powerful. But 
what of the singing? Is it less important than 
the other departments of Divine service ? Surely 
not. All other forms of worship are temporary, hut 
praise shall employ the noblest powers of saints 
and angels forever. That precept which is most 
frequently urged and reiterated in the Scriptures 
is the one which enjoins praise to God. 

Again, many of our hymns are in reality 
prayers, and it has been well said that the singing 
of these hymns by the congregation is the highest 
form of prayer—prayer uttered by the combined 
voices of the assembly—prayer shouted to the 
heavens. It is manifest, therefore, that the service 
of song is designed to be a real power in the 
Church, and that all the lovers of Zion should be 


94 


THE SERVICE OF SONG. 


most solicitous to engage in it according to the 
Divine will. 

“ Singing is a service which comes under the 
direct notice of both preachers and people—the 

ignorant and the learned.It takes its 

stand with preaching and praying, and is one of 
the very staple ordinances of religion by which 
the soul carries on holy commerce with heaven.” * 

“More than upon any other means, our religious 
life is dependent upon the spirituality, ade¬ 
quacy, and inspiration of our worship-song. The 
liymnology of the Church aims at the perfect ex¬ 
pression of all that is purest and noblest in the 
spiritual life. If prayer expresses its lower moods 
of need and sorrow, praise expresses its higher 
moods of satisfaction and joy. Prayer seeks; 
praise proffers. Prayer is a beseeching and a wail; 
praise a worship and a paean Prayer asks God 
to come to us; praise seeks to go to God. The 
soul that prays falls prostrate with its face to the 
ground, often being in agony; the soul that praises 
stands with uplifted brow and transfigured counte¬ 
nance, ready to soar away to heaven.” j* 

Viewing the subject in this light, can we be at 
a'loss for an answer to the question, Who should 
sing? Are we not all the workmanship of the 
Divine hand, subjects of the Divine govern¬ 
ment, recipients of the Divine bounty? Can any 
of the children of men fail to engage in any part 


* Thomas Hirst. 


t Rev. H. Allon. 


THE SERVICE OF SONG. 


95 


of the worship of the Most High and be blameless ? 

All who have the ability to sing are most 
assuredly bound to do so in the best manner pos¬ 
sible ; and if there be individuals who have no 
ear and no voice for music, they are also required 
to unite in the service by making melody in their 
hearts to the Lord. Thus the whole congregation 
should unite in celebrating the praises of the 
triune God. 

This was the practice of the Christian Church 
in the early ages of her history. A late writer,* 
treating of what lie calls “ the music of the people,” 
informs us upon reliable authority that “ this is 
the oldest style of music in the Christian Church. 
During the first three hundred years after Christ 
there was no other. The singing of the early 
Christians was wholly congregational. Shortly 
subsequent to the year 300 the first change oc¬ 
curred— that of responsive singing. This mode 
of singing was first practiced in the Syrian 
Churches: about the middle of the fourth century 
it was introduced by Flavian and Diodorus into 
the Eastern Churches; thence transferred, in the 
year 370, to the Western Churches by Ambrose, 
and soon came into general use under the name of 
the Ambrosian style of music. As this responsive 
singing was performed by the people, the music 
still retained its congregational character. 

“ Choir music was introduced into the Church 


Richard Storrs Willis. 


96 


THE SERVICE OF SONG. 


in tlie fourth century. At this time a distinct 
class of persons was appointed to take charge of 
this part of religious worship. But the people 
continued, for a'century or more, to enjoy, in some 
measure, their ancient privilege of singing to¬ 
gether—joining occasionally in the chorus and 

singing the responses.The clergy 

eventually claimed the right of performing sacred 
music as a privilege exclusively their own. Thus, 
from the people, it would seem, Church music 
passed, first to certain appointed officers of the 
Church, and from them to the clergy; and, the 
more effectually to exclude the people from any 
participation in this exercise, the singing was now 
in Latin. 

“ This entire monopoly of the music by the 
clergy continued until the era of the Reformation, 
when Luther restored, as the sacramental cup to 
the mouth, so music to the lips of the people.” 

“ From the first and Apostolic age singing was 
always a part of Divine service, in which the 
whole body of the Church joined together.”* 

It is well known that the Methodist Church has 
uniformly uttered an emphatic voice in favor of 
congregational singing. The genius of Method¬ 
ism requires this style of Church music. 

Methodism has been happily denominated, 
“ Christianity in earnest.” It is the second great 


Bingham. 


THE SERVICE OF SONG. 


97 


revival of vital godliness that the world has wit¬ 
nessed since the days of the Apostles, as the 
Reformation in the sixteenth century was the first. 
Wesleyan Methodism deplored the degeneracy of 
the times. It wept over the laxity and deadness 
of the Establishment,-and ardently longed for the 
simplicity, purity and power of primitive Chris¬ 
tianity. The hearts of the great founders of 
Methodism having been “ strangely warmed,” a 
new song was put into their mouths. Animated 
by the spirit of Christ, they sang: 

“ O that the world might taste and see 
The riches of His grace! ” 

The mighty power of God was manifested in 
various places in the conversion of penitents, and 
in the sanctification of believers. Societies were 
formed, and stated meetings were held. Persecu¬ 
tion raged ; and, driven- from the churches, the 
people worshiped in the fields. The field preach¬ 
ing of Wesley and Whitefield, in the year 1739, be¬ 
came “ the starting point of our modern religious 
history.” 

Methodism has always attached due import¬ 
ance to the intellectual. She claims the venerable 
halls and “ classic shades ” of the University of 
Oxford as the place of her nativity; and thanks 
God not only for holy hearts, but also for her 
facilities for mental culture. Nevertheless, she 
has always put the heart in advance, maintaining 
her orthodoxy by her spirituality, rather than her 
7 


98 


THE SERVICE OF SONG. 


spirituality by her orthodoxy. Essentially mis¬ 
sionary in her inception and in her progress, she 
claims the world for her parish, and stands 
pledged to active, aggressive movements until all 
hearts are aglow with love to God and man. 

With such an esprit de corps , could it be ex¬ 
pected that.she would march out to battle silently, 
or with soulless songs ? Might we not rather count 
on hearing in the van of her armies the grandest 
and most stirring notes ? 

Go with Whitefield to Hannam Mount, at Kings- 
wood, England. Fifteen thousand people are lis¬ 
tening attentively and solemnly to the burning 
words which fall from the lips of the prince of 
pulpit orators. The sun shines brightly. The 
trees and hedges are full of people. “ Hundreds 
after hundreds ” are convicted of sin, and many 
of these poor colliers rejoice in a knowledge of 
pardon through Christ. There is joy on earth, 
and joy in heaven. Survey the multitude and 
listen to their songs. Whitefield himself says 
that “ to behold such crowds standing together, 
and to hear the echo of their singing resounding 
over the mighty mass, suggested to him the scene 
of the general assembly of the spirits of just men 
made perfect when they shall join in singing the 
song of Moses and the Lamb in heaven.” 

Go with this devoted man of God to Kennington 
Common in London Besides the immense num¬ 
bers who come in carriages and on horses, thirty 


THE SERVICE OF SONG. 


or forty thousand on foot gather around him. 
Listen to the powerful voice of the preacher. The 
message of mercy may be heard at the distance 
of a mile from the place where he stands. When 
the hymn is announced, hear 

“ The tides of music’s golden sea, 

Setting toward eternity.” 

Those who are two miles off pause to listen! 

Such were the scenes which the Wesleys and 
Whitefield witnessed in London, Bristol, New¬ 
castle, and in many other places. The uproar of 
the filrious mob was frequently calmed into silence 
by the songs of the multitude rising above the 
harsh dissonance of Satan's hosts. 

On the 12tli of May, 1739, the corner-stone of 
the first Methodist Church in the world “ was laid 
at Bristol, England, with the voice of praise and 
thanksgiving.” 

So generally were the Methodist tunes known 
that Mr. Wesley, as he traveled, frequently heard 
them sung or whistled by the children of Roman 
Catholics. 

“ The Wesleyan singing was a great power to 
early Methodism. Charles Wesley’s hymns, with 
simple but effective tunes, spread everywhere 
among the Wesleyans ; and hundreds of hearers 
who cared not for the preaching were charmed to 
the Methodist assemblies by their music. It se¬ 
cured them much success among the susceptible 
Irish. A curious example of its power is told by 


100 


THE SERVICE OF SONG. 


one of tlie Irish, preachers. At Wexford the so¬ 
ciety was persecuted by Papists, and met in a 
closed barn. One of the persecuters had agreed 
to conceal himself within it beforehand, that he 
might open the door to his comrades after the 
people were assembled. He crept into a sack 
hard by the door. The singing commenced, but 
the Hibernian was so taken with the music that 
he thought he would hear it through before dis¬ 
turbing the meeting. He was so gratified that at 
its conclusion he thought he would hear the prayer 
also. But this was too powerful for him. He was 
seized with remorse and trembling, and roared out 
with such dismay as to appal the congregation, 
who began to believe that Satan himself was in 
the sack. The sack was at last pulled off of him, 
and disclosed the Irishman, a weeping penitent 
praying with all his might. He was permanently 
converted.” 

“ A tavern-keeper, relishing music, went to one 
of the meetings merely to hear the singing. He 
was afraid of the preaching, and that he might 
not hear it, sat with his head inclined, and his 
fingers in his ears. But a fly lit upon his nose, 
and at the moment he attempted to drive it away 
with one of his hands, the preacher uttered with 
power the text: ‘He that hath ears to hear, let 
him hear.’ The word took hold upon the pub¬ 
lican’s conscience, and he found no relief till he 
became a converted man.” 


THE SERVICE OF SONG. 


101 


Of course tlie chief charm of the early Methodist 
singing was to he found in its earnest, popular, 
congregational character. The people sang well. 

God has dealt very graciously with this Church, 
in giving to it not only John Wesley, the theo¬ 
logian and ecclesiastical legislator, hut also 
Charles Wesley, the poet and songster. Nor did 
the former attach less importance to devotional 
singing than did the Asaph of Methodism. They 
delighted greatly in social as well as congrega¬ 
tional singing. 

In Charles Wesley’s Journal, page 100, we read 
of his meeting with three friends at Islington, fall¬ 
ing into spiritual conversation, and receiving an 
account of the great blessing vouchsafed to one 
of them: then rejoicing with them in singing and 
prayer, and leaving the rest of the company 
“much stirred up to wait for the unspeakable 
gift.” 

On the 115th page he says: “We met, a troop 
of us, at Mr. Sims’. There was one Mrs. Harper 
there, who had this day received the Spirit by the 
hearing of faith, but feared to confess it. We 
sang the ‘ Hymn to Christ.’ At the words, 

“ ‘Who for me, for me hast died,’ 

she burst into tears and outcries: ‘ I believe, I be¬ 
lieve! ’ and sank down.” 

At page 131 we find him singing hymns on faith, 
when on a journey to Oxford. His conversation 
and prayers were blessed as the means of bring- 


102 


TILE SERVICE OF SONG. 


ing a fellow-traveler to a knowledge of tlie love 
of God. 

On page 136 lie says: “We were warmed by 
reading George Whitefield’s Journal. I walked 
with Metcalf, etc., in great joy, wishing for a place 
to sing in, when a blacksmith stopped us. We 
turned into his house, sang a hymn, and went on 
our way rejoicing.” 

At page 162 we find him singing in the garden 
with a little company of like-minded ones, while 
the sweetness of their melody draws others to 
them to receive the benefit of instruction and 
prayer. 

The Journals of the brothers abound with such 
entries as the foregoing, which haye been taken 
nearly at random. 

As has already been intimated, the excellency 
of the early Methodist singing resulted from the 
great importance which was attached to a personal, 
happy experience of Divine things; and also from 
the piety, and musical, and poetical talent and 
taste of the Wesleys, displayed in their unceasing 
and painstaking efforts' in the department of 
praise. 

They issued their first Hymn-book as early as 
1738, the year in which they were brought to a 
saving knowledge of Christ. Many other publica¬ 
tions of a similar character were brought out in 
quick succession. In the year 1742 John Wesley 
issued “A Collection of Tunes set to Music, as 


THE SERVICE OF SONG. 


103 


si 1 ng at the Foundry.” A work on “ The Grounds 
of Yocal Music” was published by him shortly 
afterward. Then followed, at intervals, three other 
publications on “ Sacred Harmony.” The people 
were urged to study the science of music, and 
many collections of hymns, mostly from the pen 
of Charles Wesley, were issued at different times. 
Thus the Methodists were amply supplied with a 
poetical liturgy, alid with the means of learning 
to sing. 

The liveliness of the Wesleyan Church music 
was, to a considerable extent, the result of the 
stirring character of the hymns. “ The Methodist 
hymn music early took a high form of emotional 
expression. It could not be otherwise with a com¬ 
munity continually stirred by religious excitement. 
It was also a necessity of the rapturous poetry of 
Charles Wesley; for, with it, a tame or common¬ 
place music would be absurd. Handel Hound in 
the Methodist hymns a poetry worthy of his own 
grand genius, and he set to music those beginning: 
“ ‘ Sinners, obey the gospel word! 5 
“ ‘ 0 Love Divine, how sweet thou art! ’ 

“ ‘ Rejoice ! the Lord is King.’ ” 

In the early days of Methodism, Mr. John Wes¬ 
ley was delighted to find that the constant and 
persevering efforts which had been put forth in 
the department of psalmody had not been in vain. 
Speaking of the singing of the Wesleyans, he 
says • “ Their solemn addresses to God are not 


104 


THE SERVICE OF SONG. 


interrupted either by the formal drawl of a parish 
clerk, the screaming of boys, who bawl out what 
they neither feel nor understand, or the unseason¬ 
able and unmeaning impertinence of a voluntary 
on the organ. When it is seasonable to sing praise 
to God, they do it with the spirit and with the un¬ 
derstanding also; not in the miserable, scandalous 
doggerel of Hopkins and Sternhold, but in psalms 
and hymns which are both sense and poetry, such 
as would sooner provoke a critic to turn Christian 
than a Christian to turn critic. What they sing 
is, therefore, a proper continuation of the spiritual 
and reasonable service, being selected for that 
end, not by a poor, humdrum wretch who can 
scarcely read what he drones out with such an air 
of importance, but by one who knows what he is 
about; not by a handful of wild, unawakened 
striplings, but by a whole serious congregation; 
and these not lolling at ease, or in the posture of 
sitting, drawling out one word after another, but 
all standing before God and praising him lustily 
and with a good courage.” 

In the matter of praise, as well as in other things, 
theWesleys immortalized themselves as reformers. 
As one of its earliest and noblest achievements, 
Methodism furnished Great Britain with the best 
model of devotional singing known to the world 
since the time of the primitive Christians. It very 
far surpassed the singing of the Protestant 
Churches in the days of the Reformation, in the 


THE SERVICE OF SONG. 105 

excellence of tlie hymns, the suitableness of the 
tunes, and in the spirituality which pervaded the 
music. 

At this point we may appropriately consider 
the Rules of the Methodist Churches in regard to 
congregational singing. We take the following 
question and answers from the Discipline: 

“ Question —How shall we guard against for¬ 
mality in singing ? 

“ Answer 1. By choosing such hymns as are 
proper for the occasion. 

“ 2. By not singing too much at once; seldom 
more than five or six verses. 

“ 3. By suiting the tune to the words. 

“ 4. By often stopping short when the words are 
given out and asking the people, ‘Now! do you 
know what you said last ? Did you speak no more 
than you felt ? ’ 

“ 5. In all our congregations, let the people learn 
to sing, and use our own hymn and tune-books. 

“ 6. Exhort every person in the congregation to 
sing ; not one in ten only.” 

It is a little remarkable that all these directions 
were originally given by Mr. Wesley to his Socie¬ 
ties, which constituted the germ of the Methodist 
Churches. Having been thoroughly tried on the 
other side of the Atlantic, they were adopted by 
the Conference which organized the Methodist 
Episcopal Church in America, at its session in the 
city of Baltimore, in the year 1784, and they have 


106 


THE SERVICE OE SOHO. 


received General Conference approval from that 
time to the present. They come down to ns as 
venerable monuments of the wisdom, piety and 
zeal of the founder of Methodism, and, on account 
of their antiquity and intrinsic excellence, they 
deserve to be carefully considered and faithfully 
practiced. 

Some of Mr. Wesley’s rules have, at different 
times, been left out of the Discipline, and among 
them the one which directed the preachers to 
“ preach frequently on the head ” of congregational 
singing. It is to be regretted that a recommenda¬ 
tion so eminently judicious should have disap¬ 
peared from the Discipline. This fact, however, 
need not prevent us from acting in accordance 
with the advice given. Let it be borne in mind 
that John Wesley directs all his contemporaries 
and successors in the ministry to preach frequently 
on the subject of singing. 

It would be difficult for the minister to find a 
more important theme, and one fuller of inspira¬ 
tion. If he turns to the Atonement itself, he will 
find that the subject of praise is closely connected 
with it. Can anything be of greater interest and 
concern to man than the worship of God? And is 
not singing recognized both in the Scriptures and 
in the Discipline as an integral part of Divine 
worship ? 

It is gratifying to know that prayer is a common 
theme of pulpit discourse. On that subject the 


THE SERVICE OF SONG. 


107 


people are instructed, admonished, encouraged. 
On prayer, books, tracts and sermons have been 
written and widely circulated. It is the prominent 
topic for exhortation in the prayer-meeting from 
week to week. The subject of prayer, both as a 
privilege and a duty, has, from time immemorial, 
been considered of prime importance, both by the 
ministry and the laity. 

In regard to praise, the interest manifested by 
preachers and people has by no means been so 
intense and uniform. Many of our ministers never 
preached a sermon on that subject. Many of the 
members and friends of the Church never heard 
or read a sermon on singing. Of course, the gen¬ 
eral subject of gratitude and thanksgiving has not 
been ignored; but, on the other hand, praise as a 
legitimate department of Divine worship has not 
generally been made prominent in the pulpit; and 
to this cause, more than to any other, perhaps, the 
remissness of the people may be traced. 

It is a startling fact that not one-half of the 
members of the Protestant Churches in America 
unite in the “ service of song in the house of the 
Lord.” In some Churches, the singing is confined 
almost exclusively to the few who occupy the 
gallery or organ loft in the capacity of choristers. 
In other churches, a few of those who sit near the 
pulpit sing, aided by a voice here and there through 
the congregation. It is a fact, which no one will 
dispute, that there are now in the different Churches 


108 


THE SERVICE OF SONG. 


thousands of members of both sexes who have 
naturally good voices, and who seldom or never 
attempt to unite with the people in praising God 
in His sanctuary. Are we not loudly called upon 
to do what we can to bring about a reformation ? 
And can the laity be expected to go in advance of 
the ministry in this good work ? If it is not the 
province of the pulpit to set forth the Scriptural 
rule on this subject, and to urge all the people to 
comply with it, then it will be difficult to deter¬ 
mine the proper sphere of the preacher. Surely 
one sermon in each congregation every year on 
this interesting theme would be eminently proper. 
But we ought not to satisfy ourselves until we 
have carried our point. Sermon must succeed 
sermon ; private conversations must give force to 
public exhortations, until the whole Church is 
fully awake to the importance of the subject. Of 
course, it is expected that the laity will co-operate 
with the ministry in promoting this much needed 
reform; but the “heralds of the Cross” must first 
summon the people to the rescue. 

“All the counsel of God” must be declared. 
Every doctrine of the Bible must be explained; 
every duty must be enforced. How, then, can the 
ministry be blameless if the greater portion of the 
membership continue to neglect an integral part 
of Divine worship without being admonished as 
to their delinquency, and without being encour¬ 
aged to perform a duty which would soon become 
a delight ? 


THE SERVICE OF SONG. 


109 


CHAPTER II. 

ALL SHOULD SING—( CoJltlTlUCd.) 

The Great Power of Song in the Reformation — Luther — Clement 
Marot and Theodore Beza — Priests Sung Down by the Peo¬ 
ple— Papists Imitate the Protestants — Reformation in England — 
Influence of Ministers — All should Sing — Dr. Olin — Bishops 
Coke and Asbury on Singing — George Dougherty in Charleston, 
S. C. — Felix Neff—What Chrysostom says — Augustin — Mel- 
vill — Luther — Cotton Mather’s Remark — What McCheyne 
says — Furber’s Remarks to Ministers —The Orator—The Ant — 
The Word of God — His Works. 

Since the days of the Apostles, we have had 
some forcible examples of ministerial effort in the 
department of song, both before and after the suc¬ 
cessful efforts of the Wesleys. 

The devotion of Martin Luther to sacred song 
furnishes a fine example for the consideration of 
all ministers of the gospel. 

He says : “ Next to theology, it is to music that 
I give the highest place and the greatest honor.” 

“ After the long night of the dark ages, the light 
of returning day in Germany was ushered in with 
song. Its approach had been heralded by song 
a century before this, in Bohemia, in the time of 
John Huss and Jerome; and even in the fourteenth 
century, while c the Morning Star of the Reforma- 


110 


THE SERVICE OF SONG. 


tion’ was still visible, praise broke the silence of 
the waning watches in England. 

“ As in the morning of the long days in summer, 
a few woodland notes may be heard here and there 
in the groves in advance of the general chorus 
which hails the day, so there were voices before 
Luther, both in England and on the Continent, 
which anticipated the melodies of his time. But 
when the empire of the night was fairly broken, 
and this great chorister of the Reformation arose, 
he awoke the whole forest into harmony. 

“ One of the first efforts of Luther, in fulfilment 
of the great mission of his life, was to publish a 
psalm-book. Both hymns and tunes were com¬ 
posed mainly by himself. About sixty hymns 
were written by him at a time when the history 
of fifteen centuries could not furnish more than 
two hundred hymns that had been used in Chris¬ 
tian congregations. In this great undertaking he 
had a twofold object—first, to restore to the peo¬ 
ple their ancient and long-lost New Testament 
right to the use of psalms in public worship in 
their own tongue; and, secondly, by the graces of 
verse and the charms of melody, to lodge the 
word of God effectually in their memory. He took 
care to embody in his verse the great foundation 
truths of the Bible, that, being sung over and over 

by the people, they might never be forgotten. 

So successful was he in this endeavor that priestly 
influence might in vain have attempted to check 



T1IE SERVICE OF SONG. 


Ill 


tlie progress of the Reformation by destroying the 
Bible. Its doctrines were the soul of his songs, 
and the songs were embalmed in the people’s 
memory.” * 

About this time Clement Marot, a French poet, 
assisted by Theodore Beza, gave to France and 
Germany a collection of metrical versions from 
the Hebrew Psalter. These, with the productions 
of Luther and others, were widely circulated, and 
produced a powerful effect in favor of Protestant¬ 
ism. Luther in Germany, and Calvin at Geneva, 
were determined to put down the practice of anti- 
plional chanting, and to introduce congregational 
singing in its stead. 

The effect of this new movement was elec¬ 
tric : “ The Scriptures, which had long been 

shut up in a dead language, were thus released, 
in part, to the understanding and heart of 
the worshipers, in metrical forms, which, however 
rude, were not so to the taste of the age. They 
were welcomed with unbounded'enthusiasm. That 
cardinal principle of the Reformation, by which 
responsibility was individualized, was thus infused 
into the theory and practice of worship, and the 
heart of the people opened to receive it gratefully. 

“ France and Germany were instantly infatuated 

with a love of Psalm-singing.The 

energetic hymns of Geneva exhilarated the con¬ 
vivial assemblies of the Calvinists; were commonly 


Rev. D. L. Furber 



112 THE SERVICE OF SONG. 

heard in the streets, and accompanied the labors 

of the artificer.They found their way 

to the cities of the low countries, and under their 
inspiration, many of the weavers and woollen 
manufacturers of Flanders left their looms and 
entered into the ministry of the gospel. German, 
Dutch, Bohemian, and Polish versions of the 
Psalms, in metre, and both French and German 
hymns, were soon multiplied to an almost fabulous 
extent. The enthusiasm of Luther in the work is 
well known; and the popularity of his sixty-tliree 
hymns may be inferred from the fact that spurious 
collections were hawked about the cities of Ger¬ 
many under his name. Hymns in the vernacular 
dialects became a power in the Reformation co¬ 
ordinate with that of the pulpit. Upon the masses 
of the people they were far more potent than any 
other uninspired productions of the press. At 
Augsburg, in 1551, three or four thousand singing 
at a time was but a trifle. The youth of the day 
sang them in the place of ribald songs; mothers 
sang them beside the cradle; journeymen and 
servants sang them at their labor, and marketmen 
in the streets, and husbandmen in the fields. At 
length the six thousand hymns of a single poet, 
Hans Sach, bore witness to the avidity of the de¬ 
mand and the copiousness of the supply.” * 

In the year 1529 a Romish priest was preaching 
at Lubec, and as he was concluding, two boys 


* Hymns and Choirs. 


THE SERVICE OF SONG. 


113 


commenced singing one of Luther’s hymns, when 
the whole assembly joined as with one voice; and 
if at any time any one of the priests ventured to 
inveigh against Luther’s doctrine, the congrega¬ 
tion would answer him, and drown his voice by 
singing one of Luther’s hymns. 

At Heidelberg the Reformation was sung into 
the people’s hearts. Fearing the Emperor, the 
Elector Frederick did not suppress the saying of 
mass so soon as the people desired; therefore, on 
a certain occasion, just as the priest was about to 
begin the service at the high altar, a solitary voice 
led off in the singing of Sporatus’ famous hymn, 
“ Est ist das Heil uns kommen her.” The vast 
assembly instantly joined, and, the Elector taking 
the hint, mass was said no more. 

It was not by preachers nor by religious books 
and tracts that the Reformation was introduced 
into the city of Hanover, but by the hymns of 
Luther, which the people delighted to sing. 

A contemporary of Luther says : “ I doubt not 
that the one little hymn, ‘How rejoice, Christians, 
all,’ (the first one that Luther published,) has 
brought many hundred Christians to the faith. 

.The noble, sweet language of that one 

little song has won their hearts, so that they could 
not resist the truth; and, in my opinion, the 
spiritual songs have contributed not a little to the 
spread of the gospel.” 

The Papists saw, with surprise and dismay, the 
8 


114 


TIIE SERVICE OF SONG. 


success whicli crowned these noble efforts of the 
Reformers, and their first impulse was to fight 
with the same weapons. These hymns, however, 
although a little altered to suit Romish views, still 
contained seeds of truth which promised to germi¬ 
nate and produce spiritual fruit. Hence, about 
the middle of the sixteenth century, all Papists 
were prohibited from singing them, and from that 
time the name, “psalmodist,” or “psalm-singer,” 
was applied to the Protestants, in derision. It be¬ 
came synonymous with Reformer, Huguenot, Cal¬ 
vinist, Heretic. 

Congregational singing was, as has been inti¬ 
mated, a most potent instrumentality for the ad¬ 
vancement of the Reformation in England. About 
the time the good leaven began to work in Great 
Britain, six thousand persons of all ages might 
have been heard singing the new songs at St. 
Paul’s Cross in London, and this, it is said, was 
“ sadly annoying to the mass-priests and the 
devil.” 

The following is the language of George Wither, 
who, in 1623, published a volume of “ Hymns and 
Songs of the Church,” for which he obtained a 
royal patent: 

“ The Divell is not ignorant of the power of 
these divine Cliarmes , that there lurks in Poesy 
an enchanting sweetness that steals into the hearts 
of men before they be aware; and that (the subject 
being Divine) it can infuse a kind of heavenly 


THE SERVICE OF SONG. 115 

• v 

Enthusiasm , such delight into the soule, and Ibeget 
so ardent an affection unto the purity of God’s 
Word, as it will be impossible for the most power¬ 
ful Exorcisms to conjure out of them the love of 
such delicacies, but they will be unto them (as 
David saitli) sweeter than honey or the honey- 
combe. And this secret working which verse hath 
is excellently expressed by our drad Sovereigne 
that now is (James I.) in a Poem of his long since 
penned: 

“ ‘For verse’s power is sike, it softly glides 
Through secret pores, and in the senses hides, 

And makes men have that gude in them imprinted, 

Which by the learned work is represented.* 

“ By reason of this power, our adversaries fear 
the operation of the Divine Word expressed in 
numbers; and that hath made them so bitter 
against our versified Psalms ; y'ea (as I have heard 
say), the}^ term the singing of them in our vulgar 
tongues, the Witch of Heresy .” 

The power of ministers to effect a salutary 
change in the style and spirit of Church singing 
has been twice illustrated in the history of the 
American Churches. About the year 1720, the 
degeneracy was so great that but few congrega¬ 
tions could sing more than three or four tunes, 
and these were sung so badly as to be intolerable 
to those who had any degree of musical culture. 
The wisest and best ministers exerted them¬ 
selves to effect a reformation. Edwards, Symes 


116 


THE SERVICE OF SONG. 


of Bradford, Mather, Wise, Stoddard, Dwight, 
Thatcher, Walter, Prince, Woodstock, and others, 
took the lead in this matter. They wrote and 
preached sermons on the subject, and associations 
of ministers were formed to further the object in 
view, by preparing and reading essays, and by 
other means. In the year 1720, Mr. Walter pub¬ 
lished his singing-book. The preface to it was 
signed by fourteen distinguished men, most of 
them ministers of the gospel, and among them 
two who had been college presidents. This pre¬ 
face called upon all “to accomplish themselves 
with skill to sing the songs of the Lord.” * 

Stern resistance was offered to these efforts for 
reform. Singing by note, or “regular singing,” 
as it was called, was popish—“ the old way was 
good enough.” “ The singing of two or three tunes 
at the same time by different portions of the con¬ 
gregation, either ignorantly or intentionally; or, 
what was no uncommon thing, the singing of some 
one tune, professedly, in almost as many different 
ways as there were voices, according to each one’s 
caprice or fanc}^ for embellishment, so that it 
sounded ‘ like five hundred different tunes roared 
out at the same time,’ did not offend the blunted 
musical sensibilities of the age.” But at length 
the reform was accomplished, and after ten years 
or more of intense excitement in the Churches, 


See Gould’s History of Church Music in America. 


THE SERVICE OF SONG. 


117 


there was “ a great calm,” and much spiritual 
prosperity. 

A second period of great degeneracy in Church 
music in America occurred about the beginning 
of the present century. It was not the result of 
the total neglect of musical education, but was 
occasioned by the introduction of the “ coarse, 
noisy tunes ” of Billings. 

William Billings was one of the first composers 
of music in America, if not the very first. He 
was born in New England, of humble parentage; 
occupation, a tanner; “ deformed in person; blind 
in one eye; one leg shorter than the other; one 
arm somewhat withered; with a mind as eccentric 
as his person was deformed.” He died in the year 
1800. He had genius and energy, but was almost 
totally destitute of education. Although his crude 
compositions did much damage to the cause of 
congregational singing, yet such was his zeal and 
enthusiasm that many were aroused from their 
lethargy to consider the importance of music; and 
in this way, doubtless, much good was done. 

After having been continued in use for about 
thirty years, the tunes of Billings were driven from 
the Churches, mainly through the influence of min¬ 
isters of the gospel. Chief among these were 
Drs. Worcester, Prince, and Pierce, of Brookline, 
and Dr. Dana, of Newburyport. The latter, in a 
sermon preached at Boxford, in the year 1803, 
said: “ Our country has been for years overflow- 


118 


THE SERVICE OF SONG. 


ing with productions, not destitute of spriglitliness, 
perhaps, but composed on no plan, conformed to no 
principles, and communicating no distinct or abid¬ 
ing impression — fugitive, unsubstantial tilings, 
which fill the ear and starve the mind.” 

Dr. Worcester said: “ The influence of psalm¬ 
ody in respect to religion is vastly important. 
Genuine psalmody tends to promote genuine 
religion; spurious psalmody tends to promote 

spurious religion.How different in 

all respects from wliat it ought to be is a great 
part of the music in our Churches! It is low, it 
is trivial, it is unmeaning; or, if it has any mean¬ 
ing at all, it is adapted to sentiments and emotions 
altogether different from those of pure and elevated 

devotion.It is a mere rhapsody of 

sounds, without subject, without skill, without Sen¬ 
timent, and without sense.” 

The reaction was sudden and violent, and led to 
the adoption of tunes so stiff, slow, and dull that 
the spirit and life of singing could scarcely co¬ 
exist with them. For the last half century, how¬ 
ever, there has been a gradual improvement in 
this respect, which, it is to be hoped, will be con¬ 
summated by the present generation. 

We have taken this little detour through Ger¬ 
many, France, and England, and we have called 
attention to the early and later history of music 
in some of the Churches west of the Atlantic, to 




THE SERVICE OF SONG. 


119 


sliow that all should unite zealously and under¬ 
standing^ in singing the praises of God, and that 
where there is a failure to do this, there is gener¬ 
ally power enough in the pulpit, if used with 
energy and prudence, to correct the evil. 

It will be remembered that the Discipline, 
as already quoted, makes it the duty of the 
ministers to “ exhort every person in the con¬ 
gregation to sing; not one in ten only.” This, 
as we have seen, is one of the original Wes¬ 
leyan rules, adopted by the American General 
Conference of 1784, and still a constituent part of 
the Discipline. Its history is suggestive. From 
the fact that it was inserted at so early a day, we 
may infer that, although the original Methodist 
singing was such as met the approval of even Mr. 
Wesley himself, yet the partial neglect of this 
part of Divine worship was soon observed in many 
places, and hence the injunction to the preachers 
to stir up the people. The remissness in question 
still prevails to a very great extent, and the 
preachers are still called upon to take the matter 
in hand. 

It will be observed that only exhortation on the 
subject is now required. It is taken for granted 
that the doctrine in regard to singing is under¬ 
stood arid admitted, and that it is only necessary to 
urge the people to practice what they know. This 
may be the case in some places, with some persons; 
but we apprehend that the masses need instruction 


120 


THE SERVICE OF SONG. 


in regard to devotional singing as much as 
on any other subject. They certainly have not 
had extra facilities for obtaining knowledge in 
this direction. We are, therefore, disposed to. 
give a liberal construction to the word “exhort,” 
as it is found in the rule. It is said that John the 
Baptist, on a certain occasion, “ preached many 
things in his exhortation.” So, the preacher who 
observes this great point in the Discipline, and 
exhorts all the people to sing, repeatedly, earn¬ 
estly, affectionately, will find that the best way 
to enforce the exhortation will be to exhibit the 
teachings of the Scriptures on the subject, ex¬ 
plaining the nature of the duty to be performed, 
the manner and spirit in which it should be at¬ 
tended to, the authority by which it is enjoined, 
and the benefits to be derived from its observance. 

The preacher is directed to “ exhort every per¬ 
son in the congregation to sing.” Of course, the 
believer should unite in rendering homage and 
praise to his great Creator and Benefactor. 

How can he whose heart burns with love to God 
and man remain silent when those around him 
lift up their voices in the worship of the great 
I Am ? As well might an angel stand mute before 
the throne when all the rest of the heavenly host 
are vying with each other in the loftiest songs of 
praise. 

The penitent should sing. He should sing 
of his guilt, condemnation, and sorrow. He 


THE SERVICE OF SONG. 


121 


should sing of Bethlehem, Olivet, and Calvary. 
And while he dwells upon the incarnation, the 
teachings and miracles, the unutterable love, the 
unparalleled sufferings, the vicarious death, the 
triumphant resurrection, and the ceaseless inter¬ 
cessions of the Son of God, his sins may be par¬ 
doned, and his mourning be turned into joy. 

The unconverted, whether penitent or not, should 
be encouraged to unite with the congregation in 
singing. Stephen Olin led in the morning and 
evening prayers at Tabernacle Academy, in South 
Carolina, and by this means was convinced of sin; 
and there is no reason why an effect equally salu¬ 
tary might not be produced upon other impenitent 
persons through the medium of song. Let no one 
be silent when the name of the Most High is cele¬ 
brated; but let “ every person in the congrega¬ 
tion—saint or sinner—raise his voice in praise. 

“ The singing of psalms, hymns, and spirit¬ 
ual songs in the congregation has been allowed 
by all the Churches of God in all ages (one modern 
society excepted) to be a part of Divine worship, 
and, from its very nature , it evidently belongs to 
the whole congregation. It would be unseemly 
for the minister alone to sing: but if it be the “duty 
of one member of the congregation, it must be the 
duty of all who have voices for singing; and there 
are very few who may not join in the air, as it is 
called, all the defects of their voices being lost in 
the general sound. Few things can be more pleas- 


122 


THE SEETVICTT OF SONG. 


ing to the Lord than a congregation with one he art 
and one voice praising His holy name. It is, in¬ 
deed, to he feared that there is seldom a large 
congregation where every individual is sincere. 
However, all who do in sincerity desire a blessing, 
should strive to join in the general chorus—we 
mean in every part of the hymn. If one part of 
it be above the experience of the singer, he should 
adjoin a silent prayer, that the Lord may give 
him the grace he needs; for the Lord listens to 
hear what the heart speaks, and takes all as noth¬ 
ing if the heart be silent. Again, when his ex¬ 
perience rises above the hymn, his secret prayer 
should be in behalf of that part of the congrega¬ 
tion it suits; but, in the proper hymns of praise, 
he may throw oif all reserve, for we are all in¬ 
finitely indebted to our good God.” * 

In the various departments of ministerial labor, 
much may be done by precept; more by example. 
It is important that the minister preach and exhort 
on the subject of singing; but, to give point and 
force to his teachings and entreaties, he must, if 
possible, himself sing, and so lead the fiock into 
this green pasture. 

By the memorable General Conference of 1784, 
the following question and answer were inserted 
in the Discipline: 

“ Question. How shall we reform our singing? 

* Bishops Coke and Asbury, in their Notes appended to the Discipline 
of 1796. 


THE SERVICE OF SONG. 


123 


“ Answer. Let all our preacliers who have any 
knowledge in the notes improve it by learning to 
sing true themselves, and keeping close to Mr. 
Wesley’s tunes and hymns.” 

Many of our brethren in the ministry have 
passed the age at which scientific knowledge may 
be acquired with ease ; but the majority of them, 
by a little application for a year or two, might 
obtain a good and valuable knowledge of the 
principles and practice of vocal music. Many of 
them already have some “ knowledge in the notes.” 
A little attention to the subject on their part would 
revive their taste for good singing, and would 
enable them to lead the people correctly and suc¬ 
cessfully in this department of worship. There is 
here opened to the minister a wide and inviting 
field of usefulness; let it be entered and assidu¬ 
ously cultivated. There has been committed to 
us by the Master a very useful talent; let it not 
be hidden in the earth. It is expected that the 
preachers will be able to sing; that they will be 
able to sing well, insomuch that they may lead 
the congregation whenever it may be necessary; 
and only those who can not sing, are excused. 

We would very humbly, but very earnestly, urge 
all ministers of the gospel to a serious considera¬ 
tion of the great power for good which resides in 
holy song. If the hearts of the people are hard, 
melt them by sacred melody, and you will have 
access to them. 


124 


THE SERVICE OF SONG. 


On a certain occasion the Rev. Geo. Dougherty, 
of precious memory, entered a church in Charles¬ 
ton, S. C., to till an appointment for preaching. 
Many of the people were greatly prejudiced 
against him, and liis personal appearance was 
by no means prepossessing; but after engaging 
silently in prayer for a short time, he arose from 
his knees and commenced singing. As he pro¬ 
ceeded, the attention of the congregation was 
arrested by the beautiful tune and appropriate 
words, sung in a smooth, clear voice; and before 
the conclusion of the song, many were affected to 
tears, opposition gave way, and the word was 
heard with gladness. 

If you would have thoughts of business and 
pleasure banished from the minds of your auditors, 
and if you would secure them against lassitude 
and drowsiness, induce them all to unite heartily 
in the singing. There is nothing so well calcu¬ 
lated to raise the soul above this sordid world and 
to plume it for its homeward flight as a spiritual 
participation in the service of praise. A congre¬ 
gation whose hearts and voices have thus been 
engaged, will listen with eager interest to him 
who, in faith, proclaims the everlasting gospel. 

Singing was regarded as a powerful instrumen¬ 
tality for the propagation of the gospel, by Felix 
Neff, in his labors in the south-east of Fiance 
among the high Alps; and by Eliot, in his labors 
in New England among the native tribes. 


THE SERVICE OF SONG. 


125 


Chrysostom, speaking of the power of song over 
Christian hearts, says: “Nothing so much as 
this lifteth up and, as it were, wingeth the soul; so 
freetli it from earth and looseth it from the chains 
of the body; so leadeth it unto wisdom and a con¬ 
tempt of all earthly things.” 

Augustin, discoursing on the power of music on 
the occasion of his baptism, says: “ Oh! how 
freely was I made to weep by these hymns and 
spiritual songs, transported by the voices of the 
congregation sweetly singing! The melody of 
their voices filled my ear, and Divine truth was 
poured into my heart. Then burned the sacred 
flame of devotion in nn T soul, and gushing tears 
flowed from my eyes, as well they might.” 

Melvill says: “ When many voices join heartily 
in praise, it is hardly possible to remain indifferent. 
Every one feels this. In a congregation where 
few attempt to sing, how difficult it is to magnify 
the Lord! But who can resist the rush of many 
voices ? Whose bosom does not swell as old and 
young, rich and poor mingle their tones of adora¬ 
tion and thankfulness? 

“You may tell me there is not necessarily any 
religion in all this emotion. I know that; and I 
would not have 3 T ou mistake emotion for religion. 
But we are creatures so constituted as to be acted 
on through our senses and feelings; and while 
emotion is not religion, it will often be a great step 
toward it. The man who has imbibed, so to speak, 


126 


THE SERVICE OF SOKG. 


the spirit of prayer and of praise from the sur¬ 
rounding assembly, is far more likely to give an 
attentive ear to the preached word, and to receive 
from it a lasting impression, than another whose 
natural coldness has been increased by that of 
the mass in which he found himself placed.” 

Good congregational singing is as necessary for 
the preacher as it is for the people. The languid 
drawling of a few undevout singers is not unfre- 
quently so completely soporific in its effect upon 
the minister as to unfit him for the delivery of 
his message of glad tidings; but the inspiring 
strains of many voices, all blending in harmony 
and bespeaking the gratitude and joy of believers, 
charm the preacher’s ear, quicken his intellectual 
faculties, and warm his heart. Animated by the 
Holy Spirit and uplifted by the song, lie is ad¬ 
mirably prepared for the great work. 

“ Music,” says Martin Luther, “ has ever been 
my delight. It has always excited me so as to 
give me a greater desire to preach.” 

It has been well said that God answers praise 
as well as prayer. This was forcibly illustrated at 
the dedication of the temple built by Solomon. 
It was not during the prayer, although it may 
have been to some extent in answer to it, that the 
Divine presence was manifested; but “it came to 
pass when the priests were come out of the holy 
place, ... as the trumpeters and singers were 
as one, to make one sound to be heard in praising 


THE SERVICE OF SONG. 


127 


and thanking the Lord, saying, For He is good; 
for His mercy endureth forever : that then the 
house was filled with a cloud, even the house of 
the Lord; so that the priests could not stand to 
minister by reason of the cloud; for the glory of 
the Lord filled the house of God.” 

Doubtless, one reason why God was pleased to 
honor this song with an answer so direct and won¬ 
derful, was the unanimity with which it was sung 
and performed. The individuals composing that 
vast assembly were all, it would seem, devotion- 
ally engaged. “ The trumpeters and singers were 
as one , to make one sound , to be heard in praising 
and thanking the Lord.” 

A distinguished minister in England has said 
that “ congregational singing and united prayer 
always accompany a revival.” 

Cotton Mather said, in the year 1721: “It is 
remarkable that, when the kingdom of God has 
been making any new appearance, a mighty zeal 
for the singing of psalms has attended it and 
assisted it.” 

The “heavenly-minded” McCheyne said: “My 
dear flock, I am deeply persuaded that there will 
be no full, soul-filling, heart-ravisliing, heart-satis¬ 
fying outpouring of the Spirit of God till there be 
more praise and thanksgiving to the Lord. Learn, 
dearly beloved, to praise God heartily; to sing 
with all your heart and soul in the family, and in 
the congregation; then am I persuaded that God 


128 


THE SERVICE OF SOHG. 


will give His Holy Spirit to fill the house—to fill 
every heart in the spiritual temple.”'* 

“ By an instinct as strong as it is infallible, the 
Church has always indicated a quickened life by 
a larger use of psalms and hymns.” f 

Have you, then, under your pastoral charge a 
Church that is “ twice dead ?” Ho not despond: 
there is power in preaching,, power in prayer, 
power in praise. Let the law thunder its anathe¬ 
mas : let the promises speak in accents of love: 
let the throne of grace be besieged in faith; and 
let the house be filled with the voice of praise. 
If the lukewarmness of the people be such that 
they have no heart to sing, let the preacher, by 
the aid of the Holy Spirit, arouse them from their 
deadly slumber. Let him sing to a spirited tune 
the words following: 

“ Awake, and sing the song 
Of Moses and the Lamb; 

Tune every heart and every tongue 
To praise the Savior’s name. 

“ Sing of His dying love; 

Sing of His rising power; 

Sing how He intercedes above 
For those whose sins He bore. 

“ His faithfulness proclaim. 

While life to you is given; 

Join hands and hearts to praise His name 
Till we all meet in heaven.” 

Let both the minister and his congregation 

* Some of the quotations in this connection are from “Hymns and 
Choirs.” 

t Allon. 


TIIE SERVICE OF SONG. * 129 

adopt the emphatic language of the Psalmist: “I 
will praise the name of God with a song, and will 
magnify Him with thanksgiving. This also shall 
please the Lord better than an ox or bullock that 
hath horns and hoofs.” 

The effect of a little self-examination at this 
point may be salutary. As ministers, have we 
done our duty in the department of song ? Have 
those of us who are the descendants of Wesley 
paid sufficient heed to our own rules? Have we, 
as individuals, properly appreciated this means of 
grace? Have we experienced in the use of it that 
spiritual benefit which it is so admirably fitted to 
confer ? Have we done what we could, both in pri¬ 
vate and in public, to induce all to unite in this 
delightful part of Divine worship? Have we 
striven to make these “ low grounds of sorrow ” 
vocal with praise, so that we might have “ the 
days of heaven upon earth?” Having seen “ the 
morning spread upon the mountains,” have we an¬ 
ticipated the joyful day when the far-streaming 
rays of the Sun of Righteousness shall illumine 
the pathway of those who have long dwelt in the 
“ region and shadow of death ?” 

“ Then shall the voice of singing 
Flow joyfully along, 

And hill and valley, ringing 
With one triumphant song, 

Proclaim the contest ended, 

And Him who once was slain, 

Again to earth descended, 

In righteousness to reign. 


9 


130 


THE SERVICE OE SONG. 


“ Then from the craggy mountains 
The sacred shout shall fly, 

And shady vales and fountains 
Shall echo the reply: 

High tower and lowly dwelling 
Shall send the chorus round, 

The hallelujah swelling 
In one eternal sound.” 

The Rev. D. L. Furber says: “Let ministers 
find, in the precepts of the New Testament upon 
the subject of praise, a duty and a privilege for 
all Christians; let them consider how much this 
privilege has been worth to the Church in its most 
flourishing periods—what a help to devotion, what 
a means of grace, what a source of spiritual enjoy¬ 
ment it might now be—and they may address an 
appeal to the consciences and hearts of those who 
love the Redeemer’s kingdom, which, with the 
blessing of God, will not be in vain. And both 
ministers and Churches will be surprised to dis¬ 
cover how greatly the services of the sanctuary 
are enriched by the change, and how much it will 
contribute to the religious benefit of men.” 

Let the Christian minister consider the account 
which he is finally to render, and the reward which 
he hopes to receive; and let him adopt the Apos 
tolic motto, “ As much as in me is.” 

But if, as has been already intimated, it is the 
duty of the minister to exhort “every person” to 
sing, it is the duty of the people to heed the ex¬ 
hortation : if he is bound to set a good example 


THE SERVICE OF S0H6. 


131 


before Ms people, it is their duty to follow that 
example. If, as a general rule, all are required 
to sing, then it follows that, with but few excep¬ 
tions, all have the ability to sing. Duty implies 
feasibility. But, alas for us! in the American 
Churches, the dereliction is very great: the people 
generally do not sing. Upon all those who are 
remiss must rest the responsibility of this failure 
to comply with the Scriptural rule. 

Of course impossibilities are not required: those 
who can not sing are exempt ; but this vague idea 
of inability is the unfortunate anodyne which has 
quieted the consciences of thousands. It may be 
that the reader of these pages is among the number. 
If so, we would say—“ Come and let us reason to¬ 
gether.” There is, in almost every individual, if 
not in all without exception, a native fondness for 
both melody and harmony, insomuch that we are 
almost ready to conclude with Shakespeare that 
he who has no music in himself, and is not sus¬ 
ceptible of its charms, “ is fit for treasons, strata¬ 
gems, and spoils. ” This innate love of music, of 
which you are conscious, is presumptive evidence 
of ability to acquire and practice the science. 

Again, you have breath, and you have power.to 
give it an impulse, and power to vocalize it: the 
organs of speech and the organs of song are 
identical, and the fact that you have power to 
modulate your voice, is conclusive evidence that 
you are not laboring under any prime physical 


m 


THE SERVICE OF SOTO. 


defect. Singing is but little more tlian the pro¬ 
longation of the sounds which are made in speak¬ 
ing. 

But you have tried and failed, and your friends 
tell you that success in your case is impossible. 
Still it may be that you have never addressed 
yourself to this work with earnestness and perse¬ 
verance. In this, as in every other branch of 
learning, while a few are endowed with rare gifts, 
and are able to pass the boundaries of mediocrity, 
and even to achieve distinction with comparatively 
little exertion; yet, with respect to the great mass 
of learners, untiring diligence is the only condi¬ 
tion of success. Nature does but little more than 
give us the ability to improve. 

How long did it take you to acquire the power 
of articulation ? How long did it take you to learn 
to read correctly and impressively ? If these at¬ 
tainments were secured only by years of assidu¬ 
ous application, shall we grow weary of vocal 
music and abandon the science because a few short 
lessons, and a few feeble attempts to practice what 
was imperfectly learned, have failed to make us 
accomplished musicians h 

No science can be mastered in a day; no art 
can be practiced with ease by a novitiate. We 
have heard of a renowned orator of antiquity who 
declaimed every day under the point of a sus¬ 
pended sword to correct an ungraceful movement 
of the body. We have heard of one who delivered 


THE SERVICE OF SONG. 


133 


orations on tlie sea shore with pebbles in his month 
that he might remedy a defect in his articulation. 
We have heard of the ant which, for sixty-nine 
times, failed to ascend the wall with its burden, 
but succeeded the seventieth time. So it has been, 
in a thousand instances, in the department of mu¬ 
sic : those who at one time almost despaired, have, 
by dint of energetic and continuous exertion, taken 
position among the best singers in the Church. 
Let us add to our convictions of duty as Christians 
a little of the old Roman firmness of purpose: 
Nil Mortalibus Desperandum est * Perseverundo 
vinces .f Rest assured that there is only one in 
thousands who can not sing; that most persons 
learn to sing with great facility, and that positive 
inability to sing can only be demonstrated by 
months, and perhaps we might say years, of 
fruitless effort. 

Those who are most gifted need culture. The 
voice must be educated. If it is feeble, exercise 
will strengthen it; if it is harsh, practice will 
make it smooth and melodious; if it is intractable, 
training will bring it into subjection, and it will 
go “whithersoever the governor listeth;” if it is 
contracted and monotonous, frequent use will give 
it compass and variety. 

The ear must be educated. Why is it that the 
veteran mariner in mid-ocean has around him a 


* Nothing is to be despaired of by mortals, 
t By perseverance we conquer. 


134 


THE SERVICE OF SONG. 


wider horizon than the landsman who has hut 
lately stepped on hoard? Why is it that the ear 
of the Indian can detect sounds where all is silent 
to him who has j ust entered the wilderness ? Wliy 
does the voice of the untutored vocalist grate upon 
the ear of the experienced preceptor while the 
singer himself is charmed with the sound ? The 
ready reply is, that the voice* the ear, the eye, and, 
in fact, all our faculties, are susceptible of tuition. 
We have all heard voices, naturally good voices, 
which, ever and anon, failed to strike the proper 
key with precision; they were nearly right, but 
sufficiently out of tune to seriously mar the music. 
The intonation was incorrect, i. e., the voice was 
not formed to the notes of the scale with clearness 
and precision. The ear was untaught and un¬ 
practiced. 

Nothing in music is so important as time. Time 
is measured by a slight vibration of the hand or 
foot; or, in the case of experienced singers, men¬ 
tally, without any physical movement whatever. 
But it is no easy matter to keep time with precision 
without the aid of clock, watch, or dial; the habit 
must be acquired by long practice. He who des¬ 
pairs of success because it can not be achieved in 
a day or a week, is like an apprentice who aban¬ 
dons his trade because he can not, at once, become 
a master workman. 

Dr. Lowell Mason, the veteran teacher and pub¬ 
lisher of vocal music, says: “ As it is with the 


THE SERVICE OF SONG. 135 

voice, so it is with tlie ear: its very best natural 
condition is imperfect, and needs cultivation.” 

The Rev. F. Freeman says: “By application 
and perseverance, many who, at first, were scarcely 
able to appreciate musical sounds, have, at length, 
by the aid of an instructor, arrived at very com¬ 
mendable perfection in the science and in its 
performance. It would be very difficult to find a 
person in the possession of the natural senses, 
who has not a general fondness for musical sounds: 
all who have this fondness—all who are capable 
of receiving pleasure from musical combinations, 
may, doubtless, improve the talent that is in them, 
and learn to worship God in songs of praise.” 

A writer in the Christian Spectator says: 
“Among the Germans and Moravians, all without 
exception are taught to sing: the same is true of 

the Indians of every tribe,.and of the 

children of our infant schools. Having visited 
on any of these schools in different parts of the 
country, we have never yet found a child who was 
unable to sing after he had been in the school a 
proper length of time. We would say, then, let 
every person, young and old, be encouraged to 
learn to sing; the duty will soon become pleasant, 
and the languid fire of devotion will be lighted up 
to a flame by the music of the skies.” 

In view of what has just been said, the writer 
congratulates his non-musical reader upon his 
ability to sing. Of the multitudes who throng 



136 


THE SERVICE OF SONG. 


our American Churches from Sabbath to Sabbath, 
without attempting to unite in the service of 
praise, nearly every individual may perform the 
duty, and enjoy the inestimable privilege in ques¬ 
tion. He whose eye is now tracing these lines 
may rely upon it that the chances of liis being 
able to sing are, against him, one; in his favor, 
ten thousand . 

Is it so, then, that we have hitherto neglected, 
either totally or partially, a prominent Christian 
duty ? Has Our failure to appreciate this means 
of grace made us, comparatively, barren and un¬ 
fruitful ? Has our example exerted a deleterious 
influence upon others? Is it reduced almost to a 
certainty that our pretexts for not joining with the 
congregation in singing have been delusive? Do 
we hope ultimately to spend a happy eternity in 
the noble employment of praising God ? By our 
uniting heartily and faithfully in this part of Di¬ 
vine worship, would the glory of God be promoted ? * 

Then let us ask ourselves, what meaneth that 
Scripture which saitli, “ To him that knoweth to 
do good,.and doetli it not, to him it is sin?” 

In closing our reply to the question—Who 
should sing?—we would listen with reverence and 
docility to the voice of God as uttered in His word 
and in His works. It is said: 

“ Sing unto the Lord, all the earth.” 

“Ye that feax the Lord, praise Him; all ye 
the seed of Jacob, glorify Him.” 


THE SEEVICE OF SONG. 137 

“ Let them exalt Him also in the congregation 
of the people and praise Him in the assembly of 
the elders.” 

“ Lift up your hands in the sanctuary, and bless 
the Lord.” 

“ O, praise the Lord, all ye nations: praise Him 
all ye people.” 

“ Kings of the earth, and all people; princes, 
and all judges of the earth: both young men and 
maidens; old men and children: let them praise 
the name of the Lord: for His name alone is ex¬ 
cellent ; His glory is above the earth and heavens.” 

“Let the people praise Thee, O God; let all 
the people praise Thee. O let the nations be 
glad and sing for joy: for Thou shalt judge the 
people righteously, and govern the nations upon 
earth. Let the people praise Thee, O God; let all 
the people praise Thee. Then shall the earth 
yield her increase; and God, even our own God, 
shall bless us. God shall bless us, and all the 
ends of the earth shall fear Him.” 

In unison with these sublime teachings is the 
voice of God in nature: “All Thy works shall 
praise Thee, 6 Lord; and Thy saints shall bless 
Thee.” Why has God so made all things that 
they praise Him? We are constrained to believe 
that He has surrounded us with myriads of 
preachers and exhorters, both celestial and terres* 


138 


THE SERVICE OF SONG. 


trial, that we, hearing their voices and following 
their example, might “ bless Him.” 

“ Sun, moon and stars convey His praise 

Round the whole earth, and never stand.” * 

A glittering host —a countless multitude of 
unwearied songsters—they roll on, 

“ Forever singing as they shine, 

‘The Hand that made us is Divine.’” 

Turning to the globe on which we live, we 
hear voices innumerable, and are constrained to 
acknowledge that we are urged to unite in 
Jehovah’s praise by 

“Earth, with her ten thousand tongues.” 

How impressive and fascinating are many of 
these utterances! 

“ The lark mounts up the sky 
With, unambitious song; 

And bears her Maker’s praise on high, 

Upon her artless tongue.” 

The grove is vocal with the mellifluous notes of 
the winged warblers. The streamlet, as it hastens 
onward, sings softly and sweetly of Him who bids 
its waters flow. The waves of old Ocean rejoice 
to sound “ the base in Nature’s anthem,” and rest 
not day nor night. The voice of Niagara is heard 
afar, proclaiming the majesty and glory of God. 

And what shall we say of the whisperings of 
vernal breezes; the sigliings of zephyrs; the wail¬ 
ings of the storm; the roar of the tornado; the 
peal from the overhanging cloud, and the awful 


THE SERVICE OF SONG. 


139 


detonations of tlie more distant thunder? Do 
they not call upon us in soothing strains, as well 
as in terrific tones, to praise God, not only for His 
goodness and mercy, but also for His truth and 
justice? 

Shall we speak of sights as well as sounds? 
The lily in the valley, the rose by the wayside, 
and the wild flower on the mountain crag, display 
their enameled leaves, gorgeously or delicately 
dyed, and emit their delicious fragrance in honor 
of Him whose praises we are called upon to cele¬ 
brate. Green meadows, blooming gardens, bend¬ 
ing orchards, leafy woods, and fields crowned with 
golden harvests, all invite us to join with glad 
hearts in the general song. The glory of God is 
displayed by the fish of the sea and the beasts 
of the earth; it is mirrored in every fountain, lake, 
and river; it is heralded by the falling rain, and 
it is written upon all the rocks; it is reflected by 
every particle of dust beneath our feet, and it is 
illustrated by the glowing clouds which pavilion 
the rising and setting sun. Every object above, 
beneath, around —all the Creator's works —are 
forever united in one grand chorus of praise to 
their Divine Original. 

O, man! gifted with intelligence and immor¬ 
tality ; redeemed by Christ and capable of bear¬ 
ing His image, can you stand mute in the midst 
of this universal adoration? O, woman! repre¬ 
sentative of the women-singers of the olden time— 


140 


THE SERVICE OF SONG. 


earth’s angel—expectant of celestial honors and 
joys—can you listen to the anthems which echo 
and re-echo through the world without mingling 
your voice in the grand and never-ceasing concert? 

Warmed with holy lire, shall we not, as Chris¬ 
tians, rather he leaders in the song ? Shall we not, 
with the poet, go in advance, and call upon all 
men and all things to join us in our worship? 

“ Fraise ye the,Lord, y’ immortal choirs, 

That fill the worlds above: 

Praise Him who formed you with His fires. 

And feeds you with His love. 

“ Shine to His praise, ye crystal skies, 

The floor of His abode; 

Or veil in shade your thousand eyes 
Before your brighter God. 

“ Thou restless globe of golden light, 

Whose beams create our days, 

Join with the silver queen of night 
To own your borrowed rays. 

“ Winds, ye shall bear His name aloud 
Through the ethereal blue; 

For when His chariot is a cloud, 
lie makes His wheels of you. 

“ Thunder and hail, and fire and storms. 

The troops of His command, 

Appear in all your dreadful forms, 

And speak His awful hand. 

“ Shout to the Lord, ye surging seas, 

In your eternal roar : 

Let wave to wave resound His praise. 

And shore reply to shore: * 


THE SERVICE OE SONG. 


141 


'* While monsters, sporting on the flood, 

In scaly silver shine, 

Speak terribly their maker, God, 

And lash the foaming brine. 

“ But gentler things shall tune His name 
To softer notes than these : 

Young zephyrs breathing o’er the stream, 
Or whispering through the trees. 

“ Wave your tall heads, ye lofty pines, 

To Him that bids you grow: 

Sweet clusters, bend the fruitful vines 
On every thankful bough. 

“ Let the shrill birds His honors raise, 

And climb the morning sky : 

While grov’ling beasts attempt His praise. 
In hoarser harmony. 

c * Thus while the meaner creatures sing. 

Ye mortals, take the sound: 

Echo the glories of your King 
Through all the nations round.” 


142 


THE SERVICE OF SONG. 


SECTION II.—HOW SHOULD WE SING? 


CHAPTER I. 

CHOIRS. 

Definition of a Choir — Choirs obtained under the Jewish Dispensa- 
tion — Choirs not Popish in their Origin — Not necessarily of 
Judaizing Tendency—Paid Choirs Bearing Burdens — Of the 
Members of the Choir — Place for the Choir — Illustrative Nar¬ 
rative— Putting the Singers in the Gallery—Mostly Plain Tunes 
should be Sung — Aelredus’ Description — Singing of the Col¬ 
ored People in Cities — Science in Music —The Precentor — The 
Effect of Discord — The Choir should Lead while all Sing — 
Productive of Great Good. 

Striving still to inculcate the great truth 
that all should sing, we would now call special 
attention to the manner in which this part 
of Divine worship should be conducted. It is 
evident that we may have the form without the 
power. There is often a routine of outward per¬ 
formances where there is no genuine worship. 
Hence, having been impressed with the fact that 
it is both our privilege and our duty to engage in 
the service of God, it is highly important that we 
ascertain how this service maybe most acceptably 
rendered. In regard to devotional singing, several 
particulars claim our consideration. 



THE SERVICE OF SONG. 


143 


We may first ask the question: Should there 
be a Choir in the Church ? Bj r a Choir we under¬ 
stand a company of singers charged with the duty 
of leading in the Church music. From the perti¬ 
nacity and bitterness with which choirs have been 
opposed by some good men, it might be supposed 
that they are sinful perse —always and necessarily 
sinful. This, however, can not be the case; for 
they were allowed a place in the Church under 
the Jewish dispensation by Divine direction: there 
is nothing in the arrangement at all repugnant to 
the teachings of the Scriptures, either of the Old 
or New Testament, and they are sanctioned in this 
day by many of the holiest and wisest ministers 
and members in the various branches of the 
Christian Church. Choirs are evidently lawful: 
the question is, are they expedient ? 

Some may contend that inasmuch as choirs were 
introduced into the Church in the fourth century 
of the Christian era, about the commencement of 
the dark ages, they are Popish in their nature and 
tendency, and should, therefore, be rejected. But 
this view is manifestly incorrect. Choirs existed, 
as we have seen, for nearly one thousand five hun¬ 
dred years before the coming of Christ. They 
were, doubtless, instituted by Moses in the wilder¬ 
ness at the time the tabernacle service was estab¬ 
lished—the singers, as well as the priests and the 
other functionaries of the Church, being chosen 
from the tribe of Levi. It was the abuse of the 


144 


THE SERVICE OF SONG. 


choir institution that disgraced the Church from 
the fourth to the sixteenth century. Perverted 
from its original design, which was to lead in the 
singing, the choir was made to monopolize that 
part of the worship. The object of this usurpa¬ 
tion was, of course, the aggrandizement of the 
clergy ; for, as was shown in a preceding chapter, 
they ultimately claimed the privilege of conduct¬ 
ing the Church music to the entire exclusion of 
the laity. 

But if choirs have not necessarily a papal savor, 
some may suppose that, being of Jewish origin, 
they are not admissible under the gospel dispen¬ 
sation. But it must be remembered that, under 
the Mosaic dispensation, some things, as the offer¬ 
ing of sacrifices, were designed to be typical of 
good things to come, and were, in the nature of 
the case, transient: other services enjoined by the 
law, as singing and prayer, being parts of Divine 
worship, were obviously designed to be permanent. 
The music of the Temple, if typical at all, was 
emblematical of the songs of saints and angels in 
heaven ; and of this symbol, we in these latter 
times have as much need as the people had pre¬ 
vious to. the advent of the Messiah. The peculiar 
office of the choir must still be filled, either by 
one person or by several singers associated to¬ 
gether; and, if it can be done better by a com¬ 
pany than by an individual, it is needless to say 
that the choir arrangement should be adopted. 


THE SERVICE OF SOXG. 


145 




Although we thus speak, we are free to admit 
that the opposition to choirs is, in many instances, 
well founded. Their tendency to monopolize the 
singing has been too often seen in modern times, 
and in Protestant congregations. An erroneous 
view seems to be entertained by many as to the 
object of Church music. Not a few seem to regard 
it simply as a matter of entertainment—a pleasant 
recreation from the more arduous portions of the 
service—a thing not of use but of ornament—a 
luxury, not a necessity. This being the case, the 
music must be intricate in kind and exquisite in 
execution; sound must predominate over sense, 
and the whole congregation, apart from the choir, 
must assume the attitude of passive listeners. 
The idea of worship being well nigh ignored, each 
one in the assembly sets himself to enjoy the oc¬ 
casion as best he can. Some are lolling at ease 
in their pews lost in reverie; some are, like Napo¬ 
leon, listening to the music that it may aid them 
to think about other things; some are delighted 
with the faultless performance of a favorite piece 
by the choir, while very few, if any, are spiritually 
engaged. The persons composing the choir are 
manifestly prompted solely by a desire to excel 
in their department, and they give the same indica¬ 
tions of thoughtlessness and worldliness that they 
would in a meeting for practice, or at the opera. 
Even the minister so demeans himself as to con¬ 
vince the people that he is not engaged in the act 


IO 


146 


THE SERVICE OF SONG. 


of religions worship: he is adjusting his manu 
script, turning over the leaves of the Bible, or 
giving directions to the sexton. During the prayer, 
all are quiet and apparently devout: during the 
preaching, all are respectful and attentive. Why, 
then, this utter indifference during the singing ? 
Can such a sheer mockery be acceptable to God ? 
Would it not be better to dispense with the music 
altogether than to desecrate the Church with this 
miserable counterfeit of true worship ? 

Would that this idea of singing by proxy could 
be, at once and forever, banished from the Church. 
Can we pray by proxy—repent by proxy—believe 
by proxy—be converted by proxy—render our ac¬ 
count at the judgment seat of Christ by proxy ? 
Can we go to heaven and sing there by proxy ? 
How, then, did we ever get the idea that we might 
sit silently in the Church while a few friends in 
the gallery were so kind as to do our singing for 
us, thus saving us the trouble? How have we 
managed to get our own consent to neglect a duty 
positively enjoined upon us by Divine authority ? 
How can we willingly forego one of the most ex¬ 
alted privileges vouchsafed to mortals ? 

To show how some persons think and feel on 
the subject of choirs and Church singing, we give 
the following extract from a periodical of recent 
date: 

“ There is a general idea among the Churches 
that the music of a paid choir costs too much; but 


THE SERVICE OF SONG. 


147 


a congregation may as well pay tlieir money as 
a choir spend tlieir time. A volunteer choir, with 
any ambition to sing creditably, assume a great 
burden. They assume, first, the burden of always 
being at Church, whether they may be sick or 
well. They assume the expenditure of a great 
deal of time for rehearsals. They assume a thous¬ 
and vexations. They expose themselves to the 
criticism of those who will not touch their burden 
with one of their fingers. Who blames free men 
and free women for refusing to become the slaves 
of others ? We have known those who voluntarily 
carried the burden of the music of a Church for 
many years, as a Christian duty, and we give 
them all honor; but we have no right to ask it of 
them—no more right, really, than to ask a minister 
to give us his time for nothi ng and find himself. It 
is very pretty for a congregation to gather together 
and hear good singing, and not have it cost them 
anything; but the fact is, all good singing—all 
singing worthy of the house of God—costs some¬ 
body something—nay, costs somebody a great 
deal. Why should a choir bear the whole of this 
cost, and the congregation none of it ? 

“ Those who devote their lives to music are those 
best calculated to perform acceptably the music 
of the sanctuary. We should add to this class 
all who, by the expenditure of abundant time and 
money, have become excellent in this accomplish¬ 
ment. To the first of these, music is the instru- 


148 


THE SERVICE OF SONG. 


ment by which they win their livelihood; to the 
last, it has been a costly thing, and they deserve 
return. It is just as reasonable, and just as legiti¬ 
mate, for a man to sing God’s praise for a living, 
as it is to preach God’s truth or lead in any other 
department of Christian worship for a living; and 
a Church or a parish which shrinks from assuming 
its part of the burden of church music can only 
justify itself by the plea of poverty or constitu¬ 
tional meanness.” 

In the remarks made by this writer previous to 
these utterances, he assumes that in this country, 
at the present day, good congregational singing is 
not to be expected, and he attributes the efforts 
made in that direction to a desire to make money 
by the sale of music books. As the extract shows, 
he advocates a paid choir—a choir of professional 
singers, who are to be exposed to criticism in their 
performances as one of the burdens which they 
are to bear. The people are to be exempted from 
this burden by paying their money freely—hiring 
others to bear it for them. Those who constitute 
a voluntary choir are the slaves of the congrega¬ 
tion, and the latter come together to hear good 
singing. Those who devote their lives to music— 
in the theatre, the ball-room, or the concert-hall— 
are to sing God’s praise for a living! The Chris¬ 
tian heart sickens at the contemplation of such 
anti-Scriptural, sordid, God-dishonoring views. 

How different the judgment of John Wesley, 


THE SERVICE OF SONG. 


149 


expressed in his Journal of April 8, 1787. He 
says: “I preached in Betliesda, Mr. Smyth’s new 

chapel.Mr. Smyth read prayers and 

gave out the hymns, which were sung by fifteen 
or twenty-five singers; the rest of the congrega¬ 
tion listening with much attention, and with as 
much devotion as they would have done to an 
opera. But is this Christian worship ? Or ought 
it ever to be suffered in a Christian Church ?” 

It must be evident that choirs organized and 
serving on the proxy principle can be nothing 
short of a moral nuisance—a grievous hindrance 
to the worship rather than a help. 

On the other hand, let it be distinctly under¬ 
stood that all, whether members of the choir or 
not, are under the most sacred obligations to sing, 
and that, consequently, there are to be no inactive 
listeners, no critics. Let the choir lead the con¬ 
gregation, on the same principle that the officers 
in an army lead the soldiers under their command— 
not to supplant them, but to add to their efficiency. 
Constructed upon this basis, the choir arrangement 
may often be greatly beneficial. 

Most of those who adopt this view will, doubt¬ 
less, concur in the opinion that the leader of the 
choir should be an exemplary member of the 
Church. ‘We are not now considering what would 
be best in an extreme case. But, ordinarily, he 
who is prominent in any part of the Church ser¬ 
vice ought, by all means, himself to be a devout 



150 


THE SERVICE OF SOHO. 


and spiritual worshiper. This statement sounds 
too much like a self-evident proposition to admit 
of argument. That in selecting a chief chorister, or 
precentor, especial reference should be had to the 
heart and life as well as to the head and the voice, 
is a sentiment that need only be uttered to pro¬ 
duce conviction of its truth and importance. 

We are also of opinion that the majority of 
those under the immediate direction of the leader 
should be pious. To associate a dozen or a score 
of irreligious persons together to conduct the 
Church singing, is a procedure which merits the 
most emphatic disapproval of all Christians. It 
would not be proper to scrutinize too rigidly the 
spiritual condition of those who are expected to 
compose the choir; but the general rule that two- 
thirds or three-fourths of those admitted to this 
responsible position must be members of the 
Church, could be easily enforced. 

Again, the proper position for the choir is not 
in the gallery, but on the lower floor, the trained 
singers constituting a visible and integral part of 
the congregation. The presence of the choir in 
the very midst of the assembly, the tune being 
promptly and properly pitched and heartily sus¬ 
tained by a full volume of voice, would be a 
powerful stimulus to “ all the people ” to unite 
in the worship. “ Joy is heard in the modulations 
of verse, and in the sweet swell and cadence of 
music. One reason for this is that thus our joy 


THE SERVICE OF SOHO. 


151 


may be social. The shout of one warrior animates 
another. The song of one laborer cheers another 
as well as himself in their mutual toil. The song 
of victory in one part of the held stimulates the 
combatants where the battle is yet doubtful; and 
the common chorus heightens the common tri¬ 
umph. In heaven all is social, all is action and 
reaction. There is song in heaven because there 
is joy there ; joy too strong to be confined to the 
heart. It must not only be felt, but sung; not 
only sung, but sung in chorus, rising till the voice 
is as the voice of many waters, as the voice of a 
great thunder.” * ■ 

“ In England and in Scotland,” says John Angel 
James, “ at least among Non-conformists, the peo¬ 
ple would think themselves almost as much 
defrauded if they were denied the service of song 
in the sanctuary as they would if denied the ger- 
mon. What, for real sublimity and acceptable¬ 
ness to God, is the finest music performed by hired 
solos or the most effective choir compared with 
.the swell of hundreds of human voices, pouring 
forth in one grand diapason the raptures or the 
sorrows of hundreds of regenerated hearts ? ” 

The late Rev. Dr. Raffles, of Liverpool, wrote to 
an American editor: “ How is it that your country 
people do not sing in the house of God; but leave 
it to the choir to sing for them, and are thus con¬ 
tent to perform the most exhilarating and delight- 


Rev. R. Watson. 


152 


THE SERVICE OF SOHO. 


ful portion of public worship by proxy ? I confess 
I have often been astonished at this, and have de¬ 
plored that loss of high spiritual enjoyment which 
our trans-Atlantic brethren are willing by reason 
of such a practice to suffer.” 

A powerful impulse must be given to the people 
when the choir, sitting in the midst of the assem¬ 
bly, act only as the acknowledged leaders in the 
service of song. 

This arrangement, which already obtains in 
some Churches, would also have a happy effect 
upon the choir. Occupying a remote and secluded 
position, the temptation to listlessness and levity 
is frequently yielded to, especially by the young. 
As an illustration of this remark the following 
narrative is given: “ Many years ago,” says a 
writer in a New York paper, “ I boarded, when 
very young, with a family in the South, the head 
of which was the organist in the Church. Not 
being attached to any Church or form, I sometimes 
attended Divine service with him, and, for con¬ 
venience, sat in the organ-loft.The loft 

was railed in, and furnished with substantial, 
thick, crimson curtains, which, when drawn, were 
sufficient to exclude vulgar eyes from the hallowed 
interior. 

“ It was customary, when the excellent ritual of 
devotion was gone through, and the Rector had 
named his text, for the singers to draw the curtains 
around them, and read or sleep as it suited them 



THE SERVICE OF SONG. 


153 


best. In very warm weather they also took care 
to be supplied with refreshments; and thus the 
tedious half hour allotted to the sermon was pretty 
easily consumed without much weariness. I recol¬ 
lect that on one very warm Sabbath afternoon, the 
singers had watermelons and lemonade where¬ 
with to console themselves; and it happened that 
one of the gentlemen, in handing a slice to a lady 
singer, overset the pitcher of lemonade. This 
might not have been of much consequence had 
the floor of the organ-loft been liquor-tight. But 
there were many chinks in it, and the lemonade 
trickled through pretty freely down into the broad 
aisle, to the discomfiture of the Rector, and such 
of his congregation as were wakeful enough to 
notice passing events.” 

We need hardly say that such a scene could 
not have occurred but for the separation and con¬ 
cealment of the choir from the congregation. 

“ The gallery, the modern place of performance, 
is altogether an innovation of later times, and 
Popish in its origin. That corrupt idolatry of 
music which prevailed in Italy, induced the ad¬ 
mittance of persons into the choir who were 
obviously unfit to sit among the clergy, and there¬ 
fore, were placed, like mere instruments, in a loft. 
There is an appearance of theatrical exhibition in 
this obtrusive elevation of the singers, frequently 
attracting the gaze of the congregation (perhaps 
I should say of the audience) below; who turn 


154 


THE SERVICE OF SONG. 


tlieir backs upon minister, altar, and everything 
sacred, absorbed by that which a savage would 

actually suppose to be the idol of worship. 

The modern practice cuts off the clergyman from 
the singers, and gives to the latter an improper 
elevation.” * 

We may further suggest that the tunes sung by 
the choir should be mostly plain, familiar pieces. 
The people generally, especially in this country, 
have but little musical culture, and, hence, they 
can not be expected to unite in singing new and 
difficult tunes. A penchant for new tunes has 
been the bane of choirs. The indulgence of this 
fondness for novelty and display generally pre¬ 
vents the residue of the congregation from uniting 
in the service. The supposition that the lighter 
modern compositions are superior to the old 
Church tunes which have been in use for ages, is 
utterly erroneous. Old Hundreth , and other pieces 
of like character, will continue to waft the souls 
of the multitude upward, as on eagles’ wings, till 
time shall be no longer. 

But we would not impede the march of mind; 
we would not be forgetful of the excellencies of 
modern musical productions. New tunes should 
be introduced occasionally, and they should be 
sung so frequently that all may learn them per¬ 
fectly. 


Rev. J. Jebb. 



THE SERVICE OF SONG. 


155 


We want plain singing as well as plain tunes. 
Those avIio conduct the Church music should be 
free from even the semblance of affectation. Any 
unnaturalness of manner, whether exhibited in 
the movements of the body, the expression of the 
countenance, or the tones of the voice, is altogether 
intolerable. On this subject hear Aelredus, Ab¬ 
bot of Rivaulx, in Yorkshire, England, who died 
A. D.1166: 

“ To what purpose serves that contraction and 
inflection of the voyce ? This man sings a base, 
this a small meane, another a treble, a fourth di¬ 
vides and cuts asunder, as it were, certaine middle 
notes. One while the voyce is strained, anon it is 
remitted, now againe it is dashed, and then againe 
it is enlarged with a lowder sound. Sometimes, 
which is a shame to speake, it is enforced into an 
horse’s neighings: sometimes, the masculine vigor 
being laid aside, it is sharpened into the shrill- 
nesse of a woman’s voyce; now and then it is 
writhed, and retorted with a certaine artificial cir¬ 
cumvolution. Sometimes thou mayest see a man 
with an open mouth, not to sing, but, as it were, 
to breathe out his last gaspe, by shutting in his 
breath, and by a certaine ridiculous interception 
of his voyce, as it were to threaten silence, and 
now againe to imitate the agonies of a dying man, 
or the extasies of such as suffer. 

“ In the meantime, the whole body is stirred up 
and downe with certaine histrionieal gestures: the 


156 


THE SERVICE OF SONG. 


lips are wreathed, the eyes turne round, the shoul¬ 
ders play, and the bending of the fingers doth an¬ 
swer every note. And this ridiculous dissolution 
is called religion; and where these things are most 
frequently done, it is proclaimed abroad that God 
is there honorably served. In the meantime, the 
common people looke upon the gesticulations of 
the singers, the meretricious alternations, inter¬ 
changes, and inflections of the voyces, not without 
derision and laughter; so that a man may tliinke 
that they came, not to an oratory or to a house of 
prayer, but to a theatre; not to pray, but to gaze 
about them ; neither is that dreadful Majesty 
feared before whom they stand. Thus, this 
Church singing, which the holy fathers have or¬ 
dained that the weake might be stirred up to piety, 
is perverted to the Use of unlawful pleasure, i. e ., 
the vanity of the singers.” 

We are glad to be able to affirm that the arti¬ 
ficialities in singers which have so often excited 
disgust are not necessarily an indigenous growth 
of the choir system. And here we may ask, are 
there no evils besetting the old hap-hazard cus¬ 
tom—we can not call it system ? 

It is a bright, serene Sabbath morning. You pass 
the threshold of the Church and compose yourself 
for the sacred services. The minister rises in the 
pulpit and announces the hymn. You are ready to 
unite in the singing, but nobody sings! Instead 
of a general and hearty outburst of praise, there is 


THE SEKVICE OF SONG. 


157 


u an awful pause.” It is. the business of all, and 
yet of no one, to raise the tune. At last the 
preacher says, dryly and imploringly, “We will 
thank some friend to pitch the tune.” The eyes 
of all are now turned to some individual who is 
supposed to be skilled in music, at least sufficiently 
so to render assistance in this time of distress. 
Eventually, this benevolent “ friend ” finds that 
there is no way of escape : although a very modest 
man, and withal less expert in the science of tune¬ 
raising than many have supposed, yet necessity 
is laid upon him—he must raise his head, and 
face the music ! or, in other words, he must face 
the congregation with the music. But, alas! his 
trepidation has now reached the choking point, 
and the feeble voice which is left to him is as trem- 
ulous as that of an infirm patriarch. In his pres¬ 
ent condition, it will be a marvelously fortunate 
hit if he strike a tune at all. The fear is that he 
will do like Bishop Pierce’s “ friend ” in the South- 
West, who, however, was self-constituted. This 
individual essayed to act as chorister, but, unhap¬ 
pily, instead of leading the congregation steadily 
and edifyingly through the tune, he could not 
himself make headway — his voice “sprangled 
among the notes generally.” 

If the tune be raised, its metre may be different 
from that of the hymn. A dilemma of this sort 
sometimes results in a complete break-down; and 
sometimes the determination not to be outdone is 


158 


THE SERVICE OF SOHG. 


sucli as to lead to tlie barbarous operation of 
crowding a common metre hymn into a short metre 
tune; or, of stretching common metre to the di¬ 
mensions of long metre. To witness one scene of 
butchery like this, is enough for a lifetime, unless 
the nerves of the unfortunate listener be of steel. 

But if the metre be right, the pitch is apt to be 
too low or too high; and if so, the singing will, 
either groan, and grovel in the dust, or scream, 
and strain itself upward as if ineffectually striving 
to grasp the topmost round of a lofty ladder. The 
tune, too, it is likely has been used until it is com¬ 
pletely worn out. It must be bowed with age, or 
in some way disabled; for, in its earlier days, 
when sung by Luther, Wesley, and Asbnry and 
his co-adjutors, it moved along buoyantly and 
briskly; but now, see how it limps and halts, and, 
in its best moods, goes only at a snail’s pace. 

But how can we describe the want of coherency 
and concord which so sadly mars the music, in¬ 
correctly so-called. The voices do not blend to¬ 
gether—there is no flow of sound; but, some being 
out of tune and some in tune—some too fast and 
some too slow—you would almost be disposed to 
address the singers and say, in the language of 
the Apostle, “Every one of you hath a psalm.” 

Look over the assembly: nine-tenths of the 
people are silent, and those who attempt to sing 
are, apparently, utterly devoid of the spirit of de¬ 
votion. Is this congregational singing? Would 


THE SERVICE OF SONG. 


159 


such, liarsli drawling have pleased Asaph, or Da¬ 
vid, or Charles Wesley ? Can it please God ? In 
this connection, may we not use the words of good 
old John Hyland of Northampton: “Do ye call 
that singing ? If the angels in heaven were to 
hear ye, they would come down and wring your 
necks off.” 

We are disposed to demur to the opinion, ex¬ 
pressed by many, that good congregational sing¬ 
ing may be had without either the study or practice 
of the science of music. To test the question, let 
us convene a congregation composed of persons 
who have never sung—never even tried ,to sing. 
Cite them to the hymn and request them to sing. 
Can they do it? We know they can not. They 
have voices, but utterly fail for want of knowl¬ 
edge and practice. 

The singing of the colored people in our cities 
*s frequently mentioned to show that science in 
music is unnecessary. And who has not been 
charmed with the majestic voices of these sable 
songsters, pouring upon the ear a torrent of melody, 
evidently proceeding from honest and true hearts ? 
But we must not forget that many of these people 
are intelligent, and that some of them have a good 
theoretical knowledge of music. They have all 
worshiped frequently, or at least occasionally, with 
the white people, and have heard, from time to 
time, the best singing that our city Churches can 
afford. It may be that in this way they have 


160 


THE SERVICE OF SONG. 


learned tlie tunes, and having worshiped together, 
perhaps every Sabbath for several years, they 
have had ample opportunity for practice. There¬ 
fore, their success must be attributed to “ familiar 
science”—the principles of science practically 
applied. Why do not the savages in Africa sing 
like the colored people in Charleston, and in other 
Southern cities ? 

Science has sometimes been decried as if it 
were a strait-jacket, confining the limbs, and 
crushing the life out of the subjects to which it is 
applied. We need not pause to inquire how much 
the very persons who thus speak are indebted to 
science—in agriculture, manufactures, mechanics, 
navigation, medicine, law, politics, and in fact in 
all the pursuits in which men are engaged. 

Order, system, or science pervades the Creator’s 
works throughout the universe. Why, then, should 
science in music be despised or lightly esteemed ? 

The Rev. J. R. Scott says : 

“ Music, like every science, forms a department 
of God’s truth. As such, it has its laws, no less 
fixed and unalterable than those of any other 
science. These laws have been ascertained and 
systematized, just as in the other sciences. As in 
chemistry, it is found, by experiment, that certain 
gases, combining in certain definite proportions, 
form water; so in music, experiment shows that to 
produce a given effect, sounds must follow each 
other according to a regular scale, in which the 


THE SERVICE OF SOHO. 


161 


not.es are separated from each other by intervals, 
some longer, some shorter, but so mathematically 
exact, that notes struck together in certain com¬ 
binations, invariably produce harmony; while, 
sounded together in other combinations, they 
always produce discord. Only as 'these laws are 
observed, can sounds give pleasure, or awaken any 
specific emotion. The same sounds given out re¬ 
gardless of these laws, annoy the ear, and may even 
cause exquisite pain. Now, as one may have con¬ 
siderable practical knowledge of chemistry, with¬ 
out being a scientific chemist; so nature, practice, 
and observation, may have given an individual con¬ 
siderable acquaintance with music, who has never 
been taught it scientifically. Still, it is only as the 
natural musician really , however unconsciously, 
conforms to the principles enunciated by science, 
that he can produce any desired effect. Now, 
since the science of music embraces all that nature 
and experiment have taught all men in all time 
hitherto about this branch of truth, it is presum¬ 
able there is no one so gifted as not to be capable 
of increasing his skill by availing himself of in¬ 
struction. The more nearly the praises of God’s 
house are conformed to the true teachings of mu¬ 
sical science, the more likely, other things being 
equal, their design will be accomplished. 

u There seems to be, in the minds of iminy of the 
advocates of congregational singing, a repugnance 
to the idea of church music being scientific. But 


162 


THE SERVICE OF SOHO. 


does not this spring from a misapprehension of 
the term ? Any music that is music must be scien¬ 
tific. All that science does is to teach how the 
Creator has constituted things ; and how, accord¬ 
ing to that constitution, certain effects are to be 
produced. Scientific is not opposed to simple and 
appropriate. The peculiarities of different occa¬ 
sions are not overlooked. Science, truly so called, 
will prescribe a very different style of music for 
the house of God from that with which the sensi¬ 
bilities are plied in the temples of folly. But none 
the less will she aim at freedom from every viola¬ 
tion of melody and harmony, and at bringing out 
as fully as possible every resource for expressing 
naturally and truly the sentiment sung, and for 
enhancing its impression on the heart. While, 
therefore, no one is to wait until he has made him¬ 
self a scientific musician before joining in sing¬ 
ing, is it not still the manifest duty of every one 
to fit himself, so far as his means will admit, for 
serving God in this delightful and elevating exer¬ 
cise the bfest he can —on scientific principles?” 

Of course we do not believe it practicable for 
the Church in every place to enjoy the services of 
a choir. In many communities, especially in the 
more sparsely settled sections, the most that can 
be expected is that the people generally will im¬ 
prove such opportunities for the acquisition of 
musical knowledge as may be within their reach; 
and that, in Divine worship, they will sing as best 


THE SERVICE OF SONG. 


163 


they can, some one being set apart to lead in the 
music. If we could speak a word in the ear of this 
individual, we would assure him that very much, 
as to the interest and profit of the service, depends 
upon him—that the responsibilities upon him are 
such as should induce him, in the fear of God, to 
prepare himself, as far as possible, to conduct this 
part of the worship. We would entreat him, in 
the language of inspiration, to sing unto the Lord 
a new song. That old common metre tune is good, 
but it has become utterly stale. As it regards short 
metre, the entire amount of capital on hand seems 
to be limited to that venerable melody which has 
been pressed into the service almost every time 
the people have assembled for worship during the 
last five and twenty years. In other metres the 
stock is correspondingly meagre. A little effort 
will remedy this difficulty. New tunes are abun¬ 
dant, and the fact that the precentor has learned one 
tune, is evidence of his ability to acquire as many 
more as may be necessary. Let the importance 
of the suggestion which is here kindly made 
be duly appreciated. While we eschew an un¬ 
due degree of novelty, let us not err in the opposite 
direction. In music, variety is a necessity. If 
we had an angel to sing for us, we should want a 
new tune occasionally. 

Let it be distinctly understood that, if we do the 
best we can, God will graciously accept our service. 
But shall we be blameless if, with the ability to do 


164 


THE SERVICE OF SOHO. 


well, we do poorly? Wliat if a Church in any 
given place, comprising a numerous, wealthy, and 
intelligent membership, should erect and dedicate 
to the worship of God a rough, diminutive log 
cabin, instead of contributing liberally for the 
construction of a neat and commodious edifice ? 
Is there no penury and covetousness in this trans¬ 
action? What if the young man who has been 
called to preach the gospel, instead of do¬ 
ing his utmost to prepare himself for the great 
work, deliberately yields to the seductions of 
indolence and luxury, trusting that all neces¬ 
sary aid will be given him when he stands 
up as an ambassador for Christ, can he then 
exercise strong faith? Will his preaching be as 
effective as it would have been with suitable pre¬ 
paration on his part? Has he obeyed the injunc¬ 
tion—“Study to show thyself approved unto 
God ?” And what if, with the ability to learn to 
sing correctly and attractively, we bury our tal- 
ertt—neglect our opportunities—shall we derive 
the same benefit from the song-service in the Lord’s 
house that would accrue to us under other circum¬ 
stances ? Can we say that, as far as we are con¬ 
cerned, the singing and every other exercise per¬ 
taining to the Church, is conducted “ decently and 
in order?” In utter ignorance of the principles 
which must govern in all good music—without the 
ability even to discriminate between good and 
faulty singing—can we say that we sing with the 


THE SERVICE OF SONG. 


165 


understanding? God will accept a mite from 
the poor widow, but not from the rich man. He 
will accept jars and discords from those who can 
offer him nothing better, but will He be pleased 
with that which is lame and imperfect from those 
who are in circumstances to bring a proper sacri¬ 
fice ? It is impossible to read those passages in 
the Old Testament which treat of the singers and 
of the leaders of song in the sanctuary, without 
reaching the conclusion that good music was 
contemplated. We can be satisfied with nothing 
short of good bread to eat, good water to drink, 
good raiment to wear; we want a good prayer 
and a good sermon. How, then, can we be indif¬ 
ferent in regard to the music which is to be used 
in the worship of our Heavenly Father ? 

“ God has bestowed on our race, in addition to 
the faculty of speech, the gift of music, as a medium 
of communion with each other and with Himself; 
and has appointed it as a means of the sublimest 
exercises of devotion, as if with special intent that 
the praises in His Church on earth may approxi¬ 
mate as nearly as possible to the spiritual and re¬ 
fined worship of the Church in heaven. Through 
the influence of music, the very senses become, 
as it were, hand-maidens of devotion, j By the 
harmonious combination of a few notes, with their 
various modulations, the mind, through the organs 
of hearing, and the sympathy of the nervous sys- 
tern, not only receives peculiar pleasure—some- 


166 


THE SERVICE OF SONG-. 


times exquisitely refined sensations of deliglit— 
but the affections are excited to the spiritual ex¬ 
ercises of devotion and praise; we are prepared 
for the more lively and ecstatic enjoyment of Di¬ 
vine communion, and are thus assisted in near 
approaches to the throne of grace: 

“ ‘On eagle-pinions borne, 

We scale the mount of God.* 

“.The effect of discordant and unliar- 

monious sounds, is a sensation of uneasiness and 
distress, tending to prevent, rather tlian«aid, a 
spirit of devotion. Such penance we have no right 

to inflict oil those who worship with us. 

Music should be cultivated for the purpose of 
religious worship, and from a sense of religious 
duty.” * 

Dr. Watts says: “ Of all our religious solemni¬ 
ties, psalmody is the most unhappily managed. 
The very action which should elevate us to the 
most Divine and delightful sensations, doth not 
only flatten our devotions, but too often touch all 
the springs of uneasiness within us.” 

God requires melody —melody in the heart, and 
melody, as far as practicable, to the ear. 

“ In order that a congregation may bring its 
test offering in song, there can be no question that 
it needs the help and lead of a choir. A company 
of well-trained singers, having what good singers 
usually have, such a love of music as keeps them 


* Freeman. 




THE SERVICE OF SONG. 


167 


in hab ?f * of constant vocal practice, and makes 
that practice a pleasure, have it in their power to 
impart invaluable assistance to the congregation. 
They are able to sing with confidence. They are 
masters of the music which they perform. Their 
bold, firm, spirited tones assure the timid of sup¬ 
port, and encourage all who can sing, even mod¬ 
erately well, to put forth their voices heartily. 
They may direct the movement of the tunes, 
securing promptness and precision of utterance, 
and preventing those dilatory habits of singing to 
which congregations are always liable. Their 
help in tunes that are not very familiar, and in 
learning new tunes, by which the stock of musical 
material in use by the congregation may be grad¬ 
ually enlarged, is of great importance.If 

a congregation is so fortunate as to enjoy the ser¬ 
vices of a choir of good singers, who sing, not for 
display, but for worship, and who are willing to 
assist the humblest worshipers in the sanctuary, 
and even children, in making their praises vocal, 
the Church should by all means, and most thank¬ 
fully, avail herself of such assistance.” * 

Favored with the lead of a score of strong and 
cultivated voices, any one, however destitute of a 
knowledge of musical science, may unite in the 
singing, first softly, and then with greater assur¬ 
ance. 

But some may contend that the choir institution 


* Furber. 


168 


THE SERVICE OF SONG. 


is a good one when under suitable regime , but that 
the difficulties to be overcome are so formidable, 
tliat it had better be dispensed with altogether. 
This view of the case is specious, but, as we ap¬ 
prehend, incorrect. We are of opinion that this 
branch of the Church service may be easily 
regulated. 

If we proceed upon a wrong principle, we may 
expect embarrassment. If it is understood that 
the Church music is an affair which does not 
necessarily claim the attention of those who direct 
in ecclesiastical matters ; and if a number of per¬ 
sons, believing that there ought to be a choir, vol¬ 
untarily assume the responsibility of conducting 
the singing, their motives may be good, but evil, 
in most cases, will ensue. Having been supreme 
in the undertaking, at the beginning, they will, of 
course, expect to have the wdiole matter in their 
own hands ever afterward. Hence, if disappro¬ 
bation should be expressed in regard to their 
performances; or, if changes should be pro¬ 
posed, they are likely to consider these sugges¬ 
tions as evidence of ingratitude for services ren¬ 
dered ; and, in fact, as gratuitous fault-finding, or 
impertinent meddling. Being unwilling to submit 
to what, they look upon as dictation, they either 
persist in their own way, or indignantly abandon 
the position which they were never authorized to 
occupy. 

Injury has now been done to the cause of Christ, 


THE SERVICE OF SONG. 


169 


and who is in fault? We blame the choir for 
their obstinacy and petulance, but we blame the 
Church, also, for her indifference in a matter of 
vital importance. Why did she not give this 
movement a quietus in its very inception? Nay, 
why did not the Church in that place, from the 
very day of her organization, claim the prerogative 
of managing her own affairs ? Then no one would 
have thought of invading her rights. 

Let it be distinctly understood, that unauthorized 
persons have no more right to control the singing 
than they have to direct in prayer or preaching. 
Let the pastor—the overseer —aided by his proper 
advisers, consider it his bounden duty to super¬ 
vise this branch of the worship, and all other de¬ 
partments of the Church-service. A thousand 
annoyances and evils will thus be avoided. 

As was intimated in a former chapter, the Meth¬ 
odist Discipline leaves the superintendence of the 
singing with the pastor. Aided by those who are 
capable of giving advice, he can make a judicious 
selection of persons to compose the choir. 

We quote a Canon of the Protestant Episcopal 
Church, as follows: “It shall be the duty of every 
minister, with such assistance as he can obtain 
from persons skilled in music, to give order con¬ 
cerning the tunes to be sung at any time in his 
Church; and, especially, it shall be his duty to 
suppress all light and unseemly music, and all 
indecency and irreverence in the performance, by 


170 THE SERVICE OE SONG. 

which vain and ungodly persons profane the ser¬ 
vice of the sanctuary.” 

“All Church music,” says Richard Storrs Willis, 
“ it is understood, is subservient to what is assumed 
to be the great object of Chuch-service—worship. 
Now, the true nature of worship, the general prin¬ 
ciples which underlie it, and the best method of 
successfully accomplishing it, ought to be, and 
doubtless are, better understood by the clergyman 
than the musician; inasmuch as the one makes 
this his special study, and the other makes music 
his special study 

“ The intellectual and defining part of the mu¬ 
sical department in Churches belongs, then, to the 
clergyman: the practical and applying part to 
the artist. In other words, to the clergyman, as 
the spiritual guide of the Church, it appertains, to 
decide what musical arrangement is best for the 
spiritual interests of the Church ; and to the mu 
sician it appertains to realize this arrangement.” 

It is certainly the province of the pastor, 
aided by his official advisers, to decide as 
to the expediency of a choir; and, if there is to 
be one, to designate its position in the church; 
the persons or class of persons of whom it 
is to be composed; and the character of the 
tunes to be sung. In the same way, the question 
as to the introduction of instrumental music may 
be decided. The choir must be regarded, from 
first to last, as the creature of the Church, and 


THE SERVICE OF SONG. 


171 


subject; to lier authority. This authority should 
never allow itself to be contravened, and should 
never be delegated to music committees, nor to 
any individual or association v/hatever. 

This oversight, while it will make the choir effi¬ 
cient and guard it from deterioration, will by no 
means diminish that confidence, buoyancy, and 
freedom which should ever characterize those who 
delight in sacred song. On the contrary, no em¬ 
barrassing restrictions being imposed, and the pe¬ 
culiar province of the singers being clearly defined, 
they will feel a degree of assurance and happiness 
which they could not otherwise experience. Merely 
leaders of the psalmody, they will be sustained 
and gladdened by the symphony of many voices, 
and the animated spirits of the multitude will be 
wafted to the skies upon the thrilling notes of the 
temple hymn. 

Here, then, is the conclusion of the whole mat¬ 
ter in respect to the choir: whenever it assumes 
to occupy an independent position, or to monopo¬ 
lize its department of worship, it. is an intolerable 
evil; but it may be easily preserved from all 
abuses, in which case it is greatly promotive of 
good congregational singing, and is, consequently, 
an inestimable blessing to the Church and to the 
world. 


172 


THE SERVICE OF SONG. 


CHAPTER II. 

MELODY AND HARMONY. 

Definition — Origin of Counterpoint — Harmonizing in Germany — 
Mr. Weber’s first Objection to Harmony — His second, third, 
and fourth Objections—The Power of Harmony a Divine Gift — 
Treble should Predominate — Female Voices — Male Voices — 
Variety of Voice — The Music of the Spheres — Harmony in the 
Universe — Distinguished Advocates of Harmony. 

Should we confine ourselves to the melody, or 
leading part of the music? Melody is one single 
strain of successive musical tones — a tune 
having but one part without any accompaniment. 
Harmony is the combination of two or more such 
strains. Hence, an air or melody is said to be 
harmonized when one, two, or three parts are 
connected with it. We sing in harmony when the 
bass, tenor, or alto is sung in combination with 
the air, or leading part, or when all these are sung 
together. 

Melody must have preceded harmony, as, in 
numbers, one precedes two. The parent must 
exist prior to the offspring. Still, it is supposed, 
with good reason, that harmony was known and 
practiced by the ancients, both Jews and heathen. 
In the olden time great importance was attached to 
musical culture, and much attention was given to 


THE SERVICE OF SONG. 


173 


singing and playing on instruments. It would, 
therefore, seem probable that by accident, if not 
by design, musicians would occasionally strike 
opposite notes at the distance of an octave, a third, 
or a fifth from each other, and that the agreeable 
effect having been discovered, efforts would be 
made to make the pleasing concord extend from 
one note to all the notes constituting a tune. This, 
however, is mere conjecture; there is no positive 
evidence either for or against the hypothesis. 

Franco is the first on record who entertained 
the idea of counterpoint. “Musical notation,” 
says a writer in the London Encyclopedia, “ was 
at one time performed by small points; and the 
present mode is only an improvement on that 
practice. Counterpoint— contra punctum —there¬ 
fore, denotes the notation of harmony, or music 
in parts, by points opposite to each other.” 

The singing at the dawn of the Reformation in 
Germany was confined to the melody alone; but 
about the year 1563, many of the plain tunes were 
harmonized by competent composers. This style 
of composition was by no means designed to take 
the place of the usual mode of singing. It was 
intended to give variety to the music, while all who 
desired to do so were at liberty to sing the air as 
lustily as they pleased. 

We are not disposed to take extreme ground 
in favor of harmony. It is certainly appropriate 
in amateur singing, whether in the social circle or 


174 


THE SERVICE OE SONG. 


at the public concert; but when considered with 
reference to a worshiping assembly, it must be 
subjected to some limitations. It is desirable that 
congregational singing should be strong; there¬ 
fore, when there are but few present, it may be 
well to concentrate the forces upon the melody. 

If it be contended that the aggregate of strength 
is the same, whether we sing in unison or in 
parts, the reply is that the air being the leading 
part, it must march along with bold and vigorous 
step; weakness here is failure. 

But, ordinarily, congregations convened for pub* 
lie worship are large, and, when this is the case, 
harmony may often be employed to great advan¬ 
tage. We are aware, however, that some enter¬ 
tain a different opinion. Among these is Mr. 
Henry Weber, who formerly held the position of 
Government Teacher of Music in Germany. In 
the Home Circle , he gives four reasons in favor of 
melody to the exclusion of harmony, or singing 
in parts. Mr. Weber being an eminent musician, 
we may safely conclude that he has given us, in 
these four items, the strength of the opposition to 
harmony in congregational singing. He says: 

“ The melody is the only part which gives the 
exact expression to the words, and we can not see 
why a portion of the congregation should be de¬ 
prived of the privilege of singing that strain.” 

We may venture to inquire if our author has 
premised correctly. Is the position incontrovert- 


THE SERVICE OF SONG. 


175 


ible that “ the melody is the only part which gives 
the exact expression to the words?” A good 
singer will articulate no less distinctly when he 
sings the subordinate parts than when he sings 
the air. It is not only possible, but it is a neces¬ 
sity in good music that, in all the parts, every syl¬ 
lable be uttered clearly. If, then, every sound in 
every word is brought out with precision, how can 
it be said that exact expression is not given to the 
poetry ? 

But it may be said that expression includes also 
that peculiar pitch and modulation of voice which 
give point and power to the sentiments expressed. 

Suppose, then, that we sing the hymns commenc¬ 
ing, 

“ Father, I stretch my hands to Thee,” 

** O, for a closer walk with God,” 

or any other words of a sad or pathetic cast, may 
not the solemn bass, or the pensive, aerial warbling 
of the alto, be better adapted to give expression 
to the hymn than even the melody itself? 

We are speaking now, however, not of a solo, 
but of congregational singing; and we must not 
single out one part or one voice: we must take all 
the parts and all the voices in the aggregate. 
Listen to the following words set to the tune 
called Boylston: 

“ The pity of the Lord, 

To those that fear His name, 

Is such as tender parents feel; 

He knows our feeble frame.” 


176 THE SERVICE OF SONG. 

Again, hear the congregation as they sing, 

“ Forever here my rest shall be, 

Close to Thy bleeding side; 

This all my hope, and all my plea. 

For me the Savior died,” 

set to Mear. How conld we in either case cut off 
the delightful accompaniments which have long 
been wedded to the leading part, and send it along 
through the staff bare and lonely? In Boylston , the 
power and beauty of the tune reside in the bass, and 
the tenor constitutes the chief strength and glory 
of Mear. They are both tolerable tunes when 
the melody alone is sung; but when sung with the 
parts, they give, as we conceive, “ the exact ex¬ 
pression to the words ” with much greater felicity. 
And so we would say of most of the tunes used 
in large worshiping assemblies. 

To say the least, there need be no deprivation 
in any case whatever; all should be left free to 
sing the air, or one of the harmonies attached to 
it, and no one should be subjected to embarrass¬ 
ment in order that the parts may be sustained. 

Mr. Weber’s second reason in favor of unison¬ 
ous singing is as follows: 

“ It would seriously affect tne religious medita¬ 
tion of the singers to be constantly on the guard 
to sing correctly parts differing from the melody: 
although they might succeed in making an im¬ 
pression on the listeners, yet they would not be 
benefited themselves.” 


THE SERVICE OF SONG. 


177 


Does this statement accord with the experience 
of those who have been engaged in carrying the 
parts in congregational singing ? Have they of 
necessity been so constantly on the guard to sing 
correctly as seriously to affect their religious medi¬ 
tations ? This might be a consequence of the too 
frequent introduction and use of new tunes; but 
this is what we deprecate as affecting injuriously, 
not only those who sing the parts, but also those 
who sing, or ought to sing, the air. We have no 
right to devote the precious moments allotted to 
Divine worship merely to the acquisition of mu¬ 
sical knowledge. 

It will be conceded, as a general rule, that those 
who sing the accompanying parts are able to read 
music with ordinary facility. One who can do 
this will easily master his part, in a plain tune, in 
the space of a half hour; and, with a little prac¬ 
tice, it will become as familiar to him as the let¬ 
ters of the alphabet. It is understood, too, that 
each part has its appropriate leader, who has 
sufficient skill to commence the tune on the proper 
key. If, then, the singer knows his part perfectly, 
and if there is some one to give him the proper 
sound and conduct him along through the notes, 
why may he not join and sing the bass, the 
tenor, or the alto, with as great ease and spiritu¬ 
ality as if he confined himself to the melody? 
Might it not be expected that he who sings the 
leading part would feel greater solicitude for the 


178 


THE SERVICE OF SONG. 


correctness of liis performance than would be 
felt by him who simply goes along in company? 
If those who sing the air deviate from the right 
line, they lead the whole congregation astray; 
while a mis-step in any of the parts could only 
produce momentary discord. If those who sus¬ 
tain the leading part should, on any account, 
make an untimely pause, a formidable chasm in 
the music is the inevitable consequence; but those 
who espouse the subordinate parts may be silent 
at any time without seriously marring the general 
effect of the singing. We are inclined to the 
opinion that any one of the accompanying parts 
is more easily learned than the melody, because 
there are so few intervals between the notes. It 
is vastly easier for the voice to pass over a small 
space than from a very low note to a very high 
one, or vice versa. We should, at all events, be 
so thorough in the part which we have chosen as 
to preclude the fear of failure. 

We consider our author’s third reason: “The 
regularity of singing in parts would be too often 
disturbed by the accidental absence of some mem¬ 
bers of the congregation, as sufficiently shown by 
the choir system.” 

There is nothing more susceptible of adaptation 
than melody and harmony. As we have intimated, 
we do not think it desirable that we should always 
essay to conduct all the parts. If circumstances 
seem to require it, let all sing in unison. If those 


THE SERVICE OF SO NO. 


179 


wlio are accustomed to lead in any given part be 
absent, let that part be omitted; and, if only one 
part besides the air can be advantageously sung, 
so let it be. In this way the irregularity might 
be made to conduce to a pleasing variety. Gen¬ 
erally, however, the assembling of the customary 
congregation will insure the presence of most of 
those who lead in the singing. 

Mr. Weber closes by saying: “The singing of 
one strain in unison by a large congregation is 
more grand and impressive than singing in parts, 
while singing in parts by a small assembly tends 
only to weaken the effect.” 

Congregational singing should certainly be char¬ 
acterized by grandeur and impressiveness ; but is 
it absolutely certain that these are peculiarly the 
attributes of unisonous singing ? Melody is the 
gift of God: He has conferred upon us both the 
ear and the voice, thus enabling us to make and 
appreciate pleasing sounds. Harmony is likewise 
the gift of God: He has so arranged the laws of 
sound that two or more notes at certain intervals 
from each other on the staff, when struck simulta¬ 
neously, produce a delightful concord. Music was 
especially designed to be used in Divine worship. 
How, if God has given us melody to be used in 
His praise, and if melody is the most simple and 
most easily acquired style of music; and if, for 
devotional purposes, it is altogether superior to 
harmony, is it not strange that the power of pro- 


180 


THE SERVICE OF SONG. 


during harmonious sounds should ever have been 
conferred upon us ? Melody is to a congregation 
of worshipers the first gift: they must sing in 
unison before they can sing in parts. Harmony 
is a subsequent gift: by study and practice the 
people may acquire the ability to sing several 
parts together with precision and ease. How, if 
this latter gift be inferior to the former, why was it 
ever bestowed? The Omniscient Creator does 
nothing that is superfluous, and He generally 
leads us on from the less to the greater—from that 
which is excellent to that which is more excellent. 
Hence, we have first the light of the morning star, 
then the day dawn, and then the sun shining in 
his strength. We are first babes in Christ, and 
in Him we are to “ grow up.” Is it not unseemly 
and unnatural to put that which is inferior after 
that which is more excellent ? But this, we must 
admit, has been done by the Creator Himself, if we 
contend that, in congregational worship, melody 
is necessarily, and at all times, superior to har¬ 
mony. 

We are fully of opinion that the air should 
always predominate: it is the king, the other 
parts are the subjects : it is the main stream, they 
are the tributaries. The melody should be suffi¬ 
ciently pre-eminent to be heard distinctly in every 
part of the house above the strains which har¬ 
monize with it: it should be sounded out, not 
roughly or vociferously, but with great strength 


THE SEKVICE OF SONG. 


181 


and fervor, extending, as it were, a kindly and 
continuous invitation to all present to participate. 

Therefore, let as many as choose to do so, both 
male and female, concentrate their voices upon 
the leading part. We have never been able to 
\ see why it should be given exclusively to females. 
They were from the first, designed to be “ help¬ 
meets.” The strength of the female voice has 
been urged as a reason for this arrangement; but 
we are of opinion that, in leading the service of 
song, the commanding power of male voices should 
be preferred to feminine softness or shrillness. The 
blending of the two is certainly most desirable. It 
is generally conceded that, on account of its pecu¬ 
liar sharpness, the female voice is not well adapted 
to tenor singing, but this is not a sufficient reason 
for granting it a monopoly of the air or melody. 
The liner sex may well employ their voices upon 
it and the alto, and the males may sing the air, 
the bass, or the tenor. 

A professor in a Southern college says: “ In 

the congregation, it is the male voices that give 
body and force to the tide of sound. Deprived of 
these, no matter how sweetly the women may sing, 
there is no power exerted over the multitude. In 
the full chorus of the camp-meeting or in meet¬ 
ings of the colored people, it is the hearty men’s 
voices, sustaining the higher voices of the females, 
that give the singing its peculiar and oft-acknowl¬ 
edged charm.” 


182 


THE SERVICE OF SONG. 


The foregoing views may be embraced, of course, 
without the slightest depreciation of the import¬ 
ance and excellency of female voices. The only 
question is as to which sex should lead in the 
singing. 

“ A choir of twenty or thirty singers concentrat¬ 
ing their vocal energies mainly upon the melody, 
and singing with clear, distinct articulation, with 
bold, commanding tone, and with firm, steady, 
unvarying movement, may set before the congre¬ 
gation such a plain and inviting path of song, and 
may inspire with such confidence all who have 
the ability to sing, that the result will be a success¬ 
ful, and even admirable illustration of the people’s 
chorus. A hundred little rivulets, no one of which 
could find its way to the sea alone, may join the 
river that passes near them, and be wafted safely 
to the ocean; but the stream that conveys them 
owes much of its grandeur to these little tributa¬ 
ries. In the production of this great, melodic 
chorus, a strong lead of men’s voices upon the 
air is indispensable. Men’s voices are valuable 
for dignity and impressiveness; but in the chorus 
of which we speak, their chief value is their 
strength.” * 

With the vocal power concentrated mainly upon 
the leading part, no untrained singer need be led 
astray by the sound of the other parts. 


Furber. 


THE SERVICE OF SONG. 183 

The variety of voice which obtains in all con¬ 
gregations is worthy of consideration. Many per¬ 
sons can sing easily upon a low key who find it 
almost impossible to raise their voices to a high 
pitch. These voices, when applied to the tenor or 
soprano, are harsh and unmanageable, but they 
are, in many cases, admirably adapted to the bass. 
Other voices which approach almost to a falsetto, 
and are utterly incapable of deep bass tones, may, 
nevertheless, do good service upon the melody. 
Hence, singing in parts, when it is properly done, 
so far from discouraging the masses from uniting 
in the service, gives a refreshing variety to the 
exercise, imparting force and vivacity to old as 
well as to new tunes, and gracefully accommo¬ 
dating itself to the peculiarities of all. 

“ To banish harmony from our congregational 
worship, would be to stifle a large and valuable 
portion of the huma.n voice. Many a deep, rich, 
mellow voice, that rolls its majestic swell through 
our churches and chapels, on which the upper 
strains float, and with which they mingle like the 
ripples and spray of the ocean when its bosom is 
animated with a sunny breeze, must be coerced into 
silence and rest; or, if bass voices must sing the 
air in unison, it will be a laborious effort, like tear¬ 
ing up the organization; and, generally, when per¬ 
formed, will only add noise in the place of music. 
Surely our Creator, in making the human organs 
capable of such a variety and compass of intona- 


184 


THE SERVICE OF SOHO. 


tion, could not but intend them to be used for His 
praise and the delight of His creatures; but this can 
not be done, save on the principle of harmony.”* 

The music of the spheres was a cherished idea 
with the ancients. Pythagoras, speaking of the 
heavenly bodies, says: “ Their movements are in 
harmony , and highly melodious, but impossible 
to be heard by human ears.” 

Dryden amplifies the idea, representing the 
atoms of which the world is made as marching, 
each particle to its place, to the music of the 
“ morning stars.” He says: 

“ From harmony, from heavenly harmony, 

This universal frame began. 

When nature underneath a heap of jarring atoms lay, 

And could not heave her head, 

The tuneful strain was heard from high, 

Arise ye more than dead. 

“ Then cold and hot, and moist and dry, 

In order to their station leap. 

And music’s power obey.” 

In Addison’s well-known paraphrase of the nine¬ 
teenth psalm, the sun, moon, and stars are repre¬ 
sented as singing harmoniously their Creator’s 
praise as they pursue their ceaseless and sublime 
march through the heavens. 

This is poetry, but it is the poetry of truth; it is 
based upon the great fact that God is the Creator 
and Upholder of all things. Why, then, should 


* Hirst. 


THE SERVICE OF SONG. 


185 


we reject harmony when we worship the God of 
harmony ? 

There is snrely nothing on earth superior to 
it for grandeur and impressiveness. On the 
holy Sabbath, take your place in the house of God 
with the hundreds or thousands there assembled, 
most of whom sing correctly and spiritedly. Unite 
with them as they concentrate their voices upon 
one of those grand old Church tunes which have 
come down to us from a former age. Throughout 
the whole, the melody is made to predominate; but 
the rich, mellow bass, the smooth, pathetic alto, 
and the sublime tenor, all mingle their accordant 
notes with the air; and, upon the broad bosom 
of this deep, majestic, rolling river of song, the 
spirit is. borne onward toward the anthems and 
raptures of eternity. There is here everything 
that can be thought of as constituting good music: 
there is sufficient strength or loudness; there is a 
charming variety; there is softness and sweetness 
of tone; and the harmonious blending of so many 
different voices, and the flowing together of the 
several parts, is a most beautiful type of that 
lovely union of spirit with spirit which character¬ 
izes the children of “our Father,” whether on 
earth or in heaven. 

We now gladly record the names of Martin 
Luther, John Wesley, and Charles Wesley, as the 
advocates of harmonious congregational singing, 
or singing in parts; and to the list might be added 


186 


THE SERVICE OF SONG. 


Lowell Mason, Thomas Hastings, and, as we verily 
believe, nine-tenths of the piou§ and judicious 
champions in the cause of sacred music now living. 
During our earthly sojourn, let us sing, not only 
melodiously, but also harmoniously, and at the 
close of our pilgrimage, may our ears be greeted 
with the 

** Sound 

Symphonious of ten thousand harps that tune Angelic harmonies .” 


THE SERVICE OF SONG. 


187 


CHAPTER III. 

FUGUE TUNES AND ANTHEMS. 

Definition — Origin — Billings introduced Fugue Tunes into American 
Churches — Objection to this style of Music — John Wesley on 
Intricate and Undevout Singing— Description by Rector of St. 
Bardolph’s — General Conference of 1792 — Plain Tunes — Dr. 
A. Clarke’s Objection — What has been said in favor of An¬ 
thems—To what extent they should be used—Vain Repetitions. 

A fugue tune is a composition in which tlie 
different parts follow each other, each repeating 
the subject at a certain interval above or below 
the preceding part. 

It is supposed that this style of music was intro¬ 
duced into the Church, in Pagan lands, in the 
early ages of her history. The converted heathen 
would naturally transfer the music to which they 
had been accustomed from secular to sacred 
poetry, to be used in Divine worship. It is not 
unlikely that many of those compositions which 
had been used in the worship of idols in Greece 
and Rome were thus devoted to the praise of 
the living and true God. But this supposition is 
not conclusive against the use of fugue tunes in 
the Church. There is no sin in mere sound; and 
as for the association of these pieces with the 
worship of heathen deities, it certainly can have 
no effect upon us. 


188 


THE SERVICE OF SONG. 


Fugue tunes were imported from England to 
this country, and were brought into use in the 
American Churches by William Billings. Fugu- 
ing music in Divine worship has been objected to 
on the ground that it is too complex and difficult 
for the masses. Besides, it necessarily excludes 
a portion of the congregation from the singing in 
certain parts of the tune. The former is surely a 
valid objection: everything that is intricate or 
very elaborate should be discarded, opposed as it 
is to the simplicity of the gospel. Even children 
and servants should be encouraged to participate 
in every part of the worship. Hence, the tunes 
used should be plain, strong, and easy to be sung. 
Light and flighty music should also be rejected, 
as it is calculated to repress rather than stimulate 
devotional feeling. 

Much depends, however, upon the time, the 
place, and the occasion. Some, thinking, as it 
would seem, only of solemnity as befitting the 
Lord’s house, would confine us to those slow, 
stately tunes which are hallowed by ancestral 
associations. Others, taking it for granted that 
the sole object of Church music is to please the 
ear, and that vivacity in singing is its chief excel¬ 
lence, are incessantly demanding those stirring 
modern pieces which were originally associated 
with worldly amusements, having but lately been 
elevated to their present position in the Church.. 

The proper course lies between these two ex- 


THE SERVICE OF SONG. 


189 


tremes. A due admixture of the grave with the 
more lively pieces is certainly desirable. As it 
regards the use of the latter style of music, we 
think considerable latitude should be allowed. 
While tunes of a frivolous, or extremely volatile 
character should be promptly rejected as utterly 
unfit for devotional purposes; yet at camp-meet¬ 
ings, experience meetings, prayer meetings, and 
during revivals, tunes of a soul-stirring character 
are especially needed. 

Fugue tunes are generally too fanciful for either 
public or social worship. They have also been 
objected to on the ground that they often occasion 
“ vain repetitions,” frequently destroying the sense 
of the words to which they are sung. Unimport¬ 
ant words are frequently made prominent, remind¬ 
ing us of a beggar invested with the honors of 
royalty. 

Speaking of intricate and undevout singing, 
John Wesley said to his brethren many years ago: 
“ Is not this formality creeping in already by those 
complex tunes which it is scarcely possible to sing 
with devotion ?.such as the long, quaver¬ 

ing hallelujah annexed to the morning song tune, 
which I defy any man living to sing devoutly. 

“ The repeating of the same words so often (but 
especially while another repeats different words, 
the horrid abuse which runs through the modern 
Church music), as it shocks all common sense, so 
it necessarily brings in dead formality, and has 



190 


THE SERVICE OF SONG. 


no more of religion in it than a Lancashire horn¬ 
pipe. Besides, it is a flat contradiction of our 
Lord’s command— 4 Use not vain repetitions.’ For 
what is vain repetition if this is not ? What end 
of devotion does it serve ? ” 

How would he have relished the singing of the 
following stanza as described by the Rector of St. 
Bardolph’s ? How could any Christian tolerate it ? 

“ * True love is like that precious oil, 

Which, pour’d on Aaron’s head, 

Ran down his beard, and o’er his robes 
Its costly moisture shed.’ 

“ In the prodigious effort of this performance, 
the ear-splitting combination of the several voices 
hardly bore a resemblance to that oily current 
poured on Aaron’s head, and which 

“ * Ran down his beard, and o’er his head— 

Ran down his beard- 

-his robes 

And o’er his robes- 

Ran down his beard-ran down his 

-o’er his robes.- 

His robes, his robes, ran down his beard— 

Ran down his- 

-o’er his robes, 

Ran down his beard- 

-h-i-s b-e-a-r-d- 

Its costly moist- 

Ran down his beard- 

—ure—beard—his—beard—his—shed 
Ran down his beard—his—down 
His robes—its costly moist—his beard 
—ure shed—his cost—his robes—ure shed 
Its c-o-s-t-l-y mois-ture-shed! ’ 









THE SERVICE OF SONG. 


191 


“ The late Bishop Seabury, being asked his 
opinion of this performance, replied that he had 
paid no attention to the music, but that his sym¬ 
pathies were so much excited for poor Aaron that 
he was afraid he would not have a hair left on his 
head.” 

In the year 1792, the General Conference of the 
Methodist Episcopal Church inserted in the Disci¬ 
pline the following recommendation and explana¬ 
tory note: “ The preachers are desired not to en¬ 
courage the singing of fugue tunes in our congre¬ 
gations. 

“ We do not think that fugue tunes are sinful, 
or improper to be used in private companies; but 
we do not approve of their being used in our pub¬ 
lic congregations, because public singing is a part 
of Divine worship in which the whole congrega¬ 
tion ought to join.” 

Although these words have since disappeared 
from the Discipline, the view which they express 
still prevails in most places. 

In the Notes appended to the Discipline in the 
year 179o, by Bishops Coke and Asbury, the im¬ 
portance of congregational singing is forcibly 
urged, and in the same connection it is added: 
“ From these remarks we surely must be sensible 
of the necessity of confining ourselves to simple 
tunes, as the fugue tunes have an unavoidable 
tendency to confine to a few this part of Divine 
worship, which belongs to the whole. And those, 


192 


THE SERVICE OF SONG. 


we think, have made few remarks on public wor¬ 
ship, who have not observed, on the one hand, 
how naturally the fugue tunes puff up with vanity 
those who excel in them; and, on the other hand, 
how it deadens devotion, and only at the best 
raises an admiration of the singers, and not of 
Christ.” 

The rule laid down for Church music in England, 
nearly a thousand years ago, was Simplicem sane - 
tamque melodiam, secundum morem ecclesice , sec - 
tentur. That is—“ Let them observe a simple and 
sacred melody, after the manner of the Church.” 

Queen Elizabeth, in her injunctions respecting 
public worship, says that she “willeth that there 
be a modest and distinct song used in all parts of 
the Common Prayer in the Church, that the same 
may be understanded as if it were read, without 
singing.” 

The judicious Hooker says : “ In Church music, 
curiosity and ostentation of art, wanton or light 
and unsuitable harmony, such as only pleaseth 

the ear, .... should be rejected.On 

the other hand, when it fitly suiteth well, the mat¬ 
ter altogether sounding the praise of God, it is in 
truth most admirable, and doth much edify. . . . 
They must have hearts very dry and tough, from 
whom the melody of the psalms doth not sometime 
draw that wherein a mind religiously affected 
deligliteth.” 

“.Church music,” says Archbishop Parker, who 



THE SERVICE OF SONG. 


193 


Ifved in tlie sixteenth century, “was designed to 
be congregational, and so plain, simple and grave 
in its melody, that all the people might sing, as 
well with the understanding as the spirit. It has 
been reserved for modern days to substitute the 
changing variety of airs and measures for the plain, 
yet rich and majestic psalmody of the Apostolic 
age; and by the translation of the lighter airs of 
the parlor to public worship, to carry one, by the 
irresistible laws of association, to secular scenes 
and thoughts.” 

“Music for the worship of Jehovah,” says Mr. 
Freeman, “ should be simple, easy and solemn. 
Repetitions should be sparingly used in public 
worship, and never without evident propriety.” 

Dr. Adam Clarke objected to “ the gingling, and 
often foolish sounds which we use when a single 
monosyllable is shivered into thirty-six demi-semi- 
quavers.” 

The right of Anthems to a place in the Church 
service has been seriously questioned by some, 
and by others their use has been strenuously op¬ 
posed, mainly on the ground that they are so 
utterly unsuited to devotional exercises, that the 
congregation does not even profess to unite with 
the choir in singing them. 

The anthem is a tune set to words taken from 
the Psalms, or other parts of the Scriptures, and 
13 


194 


THE SERVICE OF SONG. 


was first introduced into the English Church ser¬ 
vice in Elizabeth’s reign. 

It is contended in favor of anthems that they 
give expression to the words more fully and 
forcibly than plain tunes. In anthem music, the 
tune is especially adapted and permanently 
wedded to the words, it being the object of the 
composer to secure, not only a general correspond¬ 
ence between the character of the tune and that 
of the poetry, but also to bring out those nicer 
shades of meaning and emphasis which are too 
apt to be overlooked, or to be imperfectly appre¬ 
ciated. It is thought that this can not be done on 
the system of accommodation—that is, singing a 
dozen or a hundred tunes to the same words. 

Again, it is urged that music of an ornate or 
elaborate style should be admitted for the encour¬ 
agement of the choir. Those who lead the singing, 
having been musically educated, and being accus¬ 
tomed to devote an evening every week to the 
practice of such tunes as are used in the Church 
service, ought to be allowed to gratify their taste 
for the more admired and more difficult pieces. 

But we are persuaded that an answer to all 
such arguments is furnished in what has already 
been said in regard to plain tnnes. The time may 
come when the people will be prepared to unite in 
the singing of Anthems and fugue tunes, but that 
period is evidently distant. 


THE SERVICE OF SONG 


195 


We do not intend in these remarks to exclude 
those few favorite fugue pieces, such as Corona¬ 
tion, which time and use have made venerable: 
we do not intend to say that anthems should never 
enter the portals of the Church. To say so might 
be to reflect upon the singing of David, Asaph, 
and their compeers. It would be difficult to show 
that they eschewed anthems. Hear the “sweet 
singer” as he raises his heart and voice to the 
words : “ Bless the Lord, 0 my soul, and all that 
is within me, bless His holy name ! ” An anthem, 
properly sung as a prelude to the morning service, 
is certainly admissible. By this means, the 
thoughts are called away from worldly pursuits 
and pleasures, and a soothing, elevating influence 
is exerted upon the assembly. 

As it regards “ vain repetitions ” in fugue tunes, 
the objection can not be admitted in full force, 
inasmuch as it has been the custom of pious peo¬ 
ple in all ages to repeat, frequently and earnestly, 
the words used in Divine worship. It is only a 
trivial and unmeaning repetition that merits our 
unqualified disapproval. But no palliating con¬ 
siderations are sufficient to countervail the well 
grounded objections to the introduction of difficult 
music into the Church. 

In ordinary tunes, the singing of the different 
parts together encourages the congregation to 
unite in the worship; but, as a general rule, the 
use of fugue tunes and anthems is inexpedient. 


196 


THE SERVICE OF SONO 


CHAPTER IY. 

ADAPTATION—ARTICULATION— ACCENT— ATTITUDE^ 

Tune must be Adapted to the Words — The Song must be Adapted 
to the Time, Place and Occasion — Bishop Pierce — Remarks by 
N. D. Gould — Another Illustrative Instance — Spirit which Per¬ 
vades the Singing — Want of Feeling in Singers — Importance 
of a Good Articulation — Management of the Voice — No Music 
without Accent — Management of the Breath — A Standing Posi¬ 
tion Preferable — Dr. Guthrie’s Remarks. 

Incongruity of arrangement often sadly mars 
tlie effect of that which would otherwise be pleas¬ 
ing and impressive. A painting may be faultless 
in design, but the various colors may be so un- 
skillfully disposed as to produce a caricature 
rather than a tasteful and life-like picture. Plain 
apparel neatly adjusted is attractive; but he who 
wears black on his head, russet on his feet, and 
buttons around him a coat of crimson or scarlet, 
is but little better than a scare-crow. Divine 
worship, properly conducted, is the most impos¬ 
ing and impressive exercise that can be wit¬ 
nessed or participated in by mortals; and yet ; 
the hymn and the tune, the prayer and the dis¬ 
course, may be so at war with each other as to 
remind us of a world in chaos. Eschewing fas¬ 
tidious niceness, we are in duty bound to make 


THE SERVICE OF SONG. 


197 


tlie services, as far as possible, homogeneous. 
The Apostolic injunction is: “Let all things be 
done decently and in order.” There must be 
Adaptation. 

The tune must be adapted to the words. Tim 
great design of singing is to stimulate religious 
feeling. This is done by suggesting to the mind 
appropriate words, the import of which is im¬ 
pressed upon the heart by suitable sounds; 
therefore, the tune and the words must harmonize; 
they must be a unit—two things congenial in their 
nature, blended into one. Any contrariety in their 
spirit or tendency must of necessity create con¬ 
fusion and unpleasantness, thus defeating the 
object sought to be accomplished. 

Singing is a refined species of elocution. The 
sounds are intended to give expression to the 
words, just as in oratory the gesticulation of the 
speaker and the glance of his eye are designed to 
give life and efficiency to his utterances. The sing¬ 
ing of words expressive of sadness or solemnity to 
a lively tune; or words of a jubilant or rapturous 
character to a grave, dull, monotonous air, would 
be as antagonistic, inelegant and intolerable as 
would be the portrayal of the terrors of the law 
by the minister in soft and soothing tones, or the 
exhibition of the “precious promises” in a violent 
and vociferous manner. 

The fiery syllables which were uttered by 
Jehovah on the summit of Mount Sinai were 


198 


THE SERVICE OF SOHO. 


invested with terrific power and grandeur, by the 
quaking of the mountain, the thunderings and 
the lightnings, and the clangor of the trumpet 
which waxed louder and louder. But when “ the 
Friend of sinners ” opened His mouth on Mount 
Olivet to pronounce blessings upon His followers, 
all was peaceful and serene, thus most happily 
illustrating, and most successfully energizing the 
words of the Redeemer, which, although not with 
out penal sanctions, were, nevertheless, 

“ Like the sweet south, 

That breathes upon a bed of violets, 

Stealing and giving odors.” 

So, there will be found in the Scriptures, from be¬ 
ginning to end, a beautiful and philosophical cor¬ 
respondence between the means used and the end 
to be accomplished. 

For the want of this, how often have we failed 
to derive profit and pleasure from the service of 
song? When everything promised well, we have 
been painfully disappointed. The hymn was, 
perhaps, a master-piece from the pen of Wesley 
or Watts. The tune was known to be a general 
favorite. The people sang correctly and with a 
due degree of energy. The different parts were 
pitched upon the right key, and the music itself 
was good. Still there was something wrong; the 
performance utterly failed to produce the antici¬ 
pated effect. All was cold, barren, dead, and the 
sense of dissatisfaction experienced by all present 


THE SERVICE OF SOHO. 


199 


continued until the close of the hymn brought 
relief. What was the matter? This is a problem 
of easy solution. There was a glaring want of 
adaptation—an attempt was made to unite vivacity 
with stateliness, and the want of congeniality was 
as great as it is when a hoary-headed grand-sire 
of three score and ten is joined in wedlock to a 
blooming maiden of sixteen. 

The words, on the occasion, may have been the 
following: 

“ Salvation, O the joyful sound! 

’Tis pleasure to our ears; 

A sovereign balm for ev’ry wound, 

A cordial for our fears.” 

These gladsome lines, sung to the grief-burdened 
notes of a funeral tune, resulted in such a complete 
contradiction—such a ludicrous jumble—such an 
outrageous attack upon common sense and good 
taste, as to cool the ardor of devotion and expose 
the service to ridicule. It was the bearer of glad 
tidings coming to us in tears, and delivering his 
message in slow and mournful accents. Precisely 
similar is the effect when words that bend, and 
almost break with sorrow, are sung to a brisk and 
exhilarating tune. It is like snow in harvest, or 
vinegar upon nitre. 

On the contrary, when there is a becoming simili¬ 
tude between the words and the tune, they both 
move along together gracefully and lovingly, like 
twin sisters, smiling, and, to each other, giving 


200 


THE SERVICE OF SONG. 


countenance and support at every step. It is 
concord , doubtless, that gives sweetness and sub¬ 
limity to the songs of angels. 

This subject is especially commended to the 
careful consideration of those who lead in the 
singing. It is an easy matter to raise a common 
metre tune to a common metre hymn; but to apply 
to the words a tune which will, in the most effectual 
manner possible, carry them to the heart, melting 
it, humbling it, and uplifting it in adoring love to 
the God of all grace, is a work that requires knowl¬ 
edge and prayerful consideration. There must be 
a knowledge of the import and spirit of the hymns 
in common use; there must be constantly on 
hand a fair supply of tunes of the several metres; 
and, from these tunes, there must be a judicious 
selection. 

To do this with faultless discrimination, requires 
skill in liymnology and music beyond what would 
be ordinarily expected; but to make two classes 
of hymns and two classes of tunes, thus securing 
a general distinction between the grave and the 
sprightly, is, comparatively, an easy achieve¬ 
ment. Let the buoyant, animating tunes and 
words constitute one department; let the hymns 
and words of the opposite character constitute 
the other: when the time for service comes, let 
this classification be borne in mind, and the poetry 
and air will be properly consorted without diffi¬ 
culty. Let no chorister, whether learned or other- 


THE SERVICE OF SONG. 


201 


wise, shrink from the effort to do his work well. A 
great responsibility is upon him. The benefit to be 
derived from the singing by the congregation de¬ 
pends, in a great degree, upon the manner in 
which it is conducted. 

The tune and the words must be adapted to the 
time, the place, and the occasion, 

There are two classes of emotions which it is 
the office of music to excite—the mournful and the 
joyful; and those who select the hymns and the 
tunes should mentally inquire—“ what is the lead¬ 
ing characteristic of this occasion?—what particu¬ 
lar class of feelings should be especially appealed 
to?” The adaptation of the tune to the poetry 
might be perfect, and yet the selection might be 
so wide of the mark as to render the music an 
abrupt intrusion upon the meditations of the 
assembly. To this point let careful attention be 
given by ministers and choristers. 

Bishop Pierce, of the Methodist Episcopal 
Church, South, gives ns an. incident which will 
help to illustrate. A minister (of what denomi¬ 
nation we are not informed) conducting Divine 
service at night, was giving out that excellent 
morning hymn which commences: 

“ We lift our hearts to Thee, 

• O Day-star from on high! 

The sun itself is but Thy shade, 

Yet cheers both earth and sky.” 

During the singing, nearly all the lights went out, 


202 


THE SERVICE OF SONG. 


and darkness prevailed; but the preacher, nothing 
daunted, continued the reading, and announced 
the third stanza, which is as follows: 

“ IIow beauteous nature now! 

How dark and sad before! 

With joy we view the pleasing change, 

And nature’s God adore.” 

This reminds us of a venerable and useful min¬ 
ister who, on a bright and beautiful morning, arose 
in the pulpit to commence the service, and gave 
out the hymn— 

“ The day is past and gone, 

The evening shades appear.” 

Some in the congregation sung. Was this right ? 

Speaking of the want of adaptation as it ex¬ 
isted in former days, Mr. N. D. Gould says : “We 
have known many strange and egregious impro¬ 
prieties of this kind. When there was any public 
occasion which required singing, such as an ordi¬ 
nation or installation of a minister, dedication of 
a church, installation of a Masonic lodge, Fast, 
Thanksgiving, Christmas, etc., it seemed that, in¬ 
stead of selecting words appropriate for the occa¬ 
sion, the inquiry was, rather, what tunes were the 
most popular, or would most please. We will 
mention one or two examples : When Judgment 
Hymn, the air said to have been written by Martin 
Luther, was first introduced to the public in 
this country, and performed by the Handel and 
Haydn Society, with the words, ‘ Great God, 


THE SERVICE OF SONG. 


203 


wliat do I see and hear,’ with instrumental accom¬ 
paniment, the effect was powerful; the fame of 
it soon spread through the country, and, it being 
understood that it was not difficult to perform, 
copies were procured by a choir for the purpose 
of singing it at an ordination! Billings’ ‘Anthem 
for Easter,’ words, ‘ The Lord is risen indeed,’ was 
used, and considered proper on all the foregoing 
occasions.” 

A Judgment tune, sung to Resurrection words, 
at an ordination, dedication, or thanksgiving 
service! 

In the same connection, we have the following 
narrative by a gentleman who was leisurely travel¬ 
ing on horseback from a city into the adjoining 
country. He says: “ Seeing a gathering at a 
school-house near the road, remote from any other 
building, I dismounted, tied my horse, approached 
the house, inquired the occasion of the collection; 
was told that their singing-master had made an 
anthem for an ordination that was to take place 
in a few days, and that the singers had met to 
learn it. Being a stranger, the crowd that had 
gathered about the house to hear the performance 
politely made a passage for me, even into the in¬ 
terior. The singers, I found, all held a manuscript 
copy of what they were singing ; the leader, with 
his coat off, beating time with his head, both 
hands, and one foot. Knowing the impropriety 


204 


THE SERVICE OF SONG. 


of entering a room where singers are in the midst 
of rehearsing a tune, I held back at first; but no, 
as though they feared I should lose some import¬ 
ant strain by delay, the spectators hurried me on 
to the sight and hearing of the performers. When 
they had gotten through, and sounded out the 
Amen, long and loud, the leader and author po¬ 
litely handed me a copy of the anthem; and as 
their articulation was such that I had not been 
able to distinguish a single word of what I had 
heard sung, I, therefore, set about reading the 
lines, and found, to my astonishment, that they 
were the familiar words of boyhood, being a fable 
taken from an old spelling-book, commencing as 
follows: ‘ An old man found a rude boy up one 
of his trees, stealing apples, and desired him to 
come down,’ ” etc. 

We have another illustrative instance to give, 
which was received from a minister who was 
present on the occasion. The officiating preacher 
was a stranger to the people, and the people were 
strangers to him. At the appointed hour, he arose 
in the pulpit and read, you will suppose, 

“ Before Jehovah’s awful throne,” 

“ Come, let us join our cheerful songs,” 

or some other hymn of undoubted merit and ap¬ 
propriateness. But you must understand that the 
. preacher, being about to introduce himself to the 
people, desired something of a more personal 


THE SERVICE OF SONG. 205 

character. Then, you will conjecture that the 
words were the following : 

“We bid thee welcome in the name 
Of Jesus, our exalted Head.” 

But these surmises are all widely different from 
the reality. Our newly inaugurated pastor sur¬ 
prised his flock by reading out for his first hymn 
these words: 

“ Unveil thy bosom, faithful tomb; 

Take this new treasure to thy trust, 

And give these sacred relics room 
To slumber in the silent dust.” 

The second hymn selected and sung was like 
unto the first. It commences with the familiar 
words: 

“ Why do we mourn departing friends?” 

These are, of course, extreme cases, but they 
are also representative of a class of improprieties 
which are by no means of rare occurrence. In 
everything pertaining to the sanctuary, how ex¬ 
ceedingly desirable is the exercise of sound judg¬ 
ment and good taste? 

Again, the spirit which pervades the singing 
should be adapted to the tune and the words, 
also to the time, place and occasion. All the 
selections and arrangements may be appropriate, 
but song must have a soul as well as a body. 
Feeling must always be the great characteristic 
of good singing. The bare reading of the words 


206 THE SERVICE OF SOHO. 

would be more effectual than a thoughtless, soul¬ 
less attempt to sing them. There must be spirit 
in Church singing; not simply a musical spirit, 
such as that which predominates at the theatre or 
the opera; but a Sabbath spirit—a devotional 
spirit—a spirit in unison with the sentiments which 
we utter. Without this, the music can not possibly 
give expression to the poetry. 

Feeling is the soul of eloquent speaking. The 
orator must have a vivid conception of the mean¬ 
ing and force of the language which clothes his 
ideas—his winged and glowing thoughts must go 
out upon the assembly warm from the heart; and 
so it must be in singing whenever its legitimate 
effect is produced. The mind, having been with¬ 
drawn from sublunary scenes, must be intently 
fixed upon the words used; and these, being 
clearly apprehended, and appreciated, will natur¬ 
ally and spontaneously give tone and significance 
to the strains in which they are sounded forth. 

The writer’s mind recurs, at this moment, to a 
precentor, chorister, or tune-raiser, whichever ap¬ 
pellation may be preferred, who seemed to have 
no lack of confidence in his musical capabilities, 
and who evidently took great pleasure in filling 
the office which he had voluntarily assumed. While 
the minister was in the act of reading the first two 
lines of the stanza, our leader, with an air of self- 
importance, surveyed the congregation, as if 
greatly delighted with the idea of conferring hap- 


THE SERVICE OF SONG. 207 

piness upon so many people. The last syllable 
of the couplet had scarcely escaped the preacher’s 
lips, when our accommodating friend pitched the 
tune on rather a high key, and proceeded so 
rapidly as almost to defy competition. Nor did 
he cease to gaze upon the audience with an air of 
idle indifference and self-complacency. His whole 
demeanor seemed to say—“ This is easy work for 
me—I am doing it to perfection—it is as natural 
for me to sing as it is for the brook to ripple along 
over its pebbly bed—it is not even necessary for 
me to think of the words, or of worship , or of any¬ 
thing else in particular.” Thus our wandering- 
minded, icy-hearted, high-strung, galloping cantil- 
lator continued to the close of the hymn; and 
that delectable exercise, instead of satiating, only 
whetted his appetite for the next one. Some¬ 
times, before or after the service, he would sing 
solo — he never got tired of singing — and then, 
having it all to himself, he seemed to enjoy his 
freedom hugely; he scampered along in double- 
quick time, and his accelerated and unfeeling 
clatter reminded those who had the misfortune to 
be near him of the sound of the blacksmith’s 
hammer when he makes haste to strike while the 
iron is hot; or, of a child beating drum on a 
broken kettle. The utter thoughtlessness which 
marked all the performances of this well-meaning 
man amounted to an affliction in the case of those 
who tried to be devotional. 


208 


TIIE SERVICE OF SOHO. 


“As general rules, accordant with common sense 
and the dictates of nature, all who appreciate the 
sentiment sung, will observe, for instance, in the 
pathetic , the slow and soft; in the beautiful , the 
quick and soft; in the spirited , the quick and 
loud; in the grand , the slow and loud—whilst 
other passages will be considered as requiring no 
considerable change from the common movement 
or quantity ; but a peculiar distinctness of utter¬ 
ance, or some distinction in the tone or modulation 
of the voice, expressive of the sentiment. A good 
judgment and due attention to sentiment will 
generally dictate the proper expression, especially 
when the heart is truly pious.” 

“ The psalm may be sung,” says Mr. Freeman, 
“ with precision, every note in the tune being cor¬ 
rectly sounded, and yet there may be a want of 
expression, and the music ma}q therefore, be with¬ 
out effect. The expression of the voice should be 
accommodated to the nature of the sentiment ex¬ 
pressed, and for this purpose the sentiment must 
be understood .” 

Mr. Gould says : “ The words we sing must be 
so clearly apprehended and felt as to make them 
our own. We must speak them out; for the words 
will not, without our aid, make any impression on 
our own feelings, - or the hearts of others. Reason 
teaches us that, if words are sacred, the mind 
should be directed toward the Being we address, 
and carried away from man and earth, and from 


THE SERVICE OF SONG. 


209 


A..1 thought of making a display of musical talent. 
If the words are solemn and sublime, the mind 
should be fixed on the grand and awful scenes 
which time and eternity present. If plaintive or 
pathetic, we should bring the scenes they are in¬ 
tended to represent home to our own hearts. If 
supplicatory, our minds should be impressed with 
the fact that it is as solemn to address the throne 
of grace in sacred song, as to use the same lan-, 
guage in the voice of prayer. With these feelings 
and views, individuals and choirs can scarcely 
fail of giving that kind of expresion which will do 
good; and without them, all is solemn mockery. 5 ’ 

“ The voice of the Church,” says Mr. Willis, “ as 
heard in her solemn music, should be full of joy— 
but full of dignity. Full of tenderness—but full 
of manly depth. Full of sorrow and hearty con¬ 
trition—but full of earnest strength. Full of 
love—bat full of awe: and, therefore, utterly fi^e 
from sentimentality and languishment.” 

“ Let a congregation,” says Mr. Furber, “ be 
required to sing, now soft, now loud, now fast, now 
slowly, now crescendo, now diminuendo, and now 
with prolonged and gliding notes, and always 
with such deference for punctuation that a comma 
would bring an entire assembly to a sudden, 
startling pause, and the attempt to do this, besides 
being in itself a pretentious failure, would defeat 
every religious end which psalmody contemplates.” 

In singing, our observance of rules must become 
14 


210 


THE SERVICE OF SOHO. 


a liabit—a sort of second nature, our music being 
a genuine emanation from the heart—the blazing 
out of the fire which burns within. 

Finally, it has been contended that the style of 
music should be adapted to the peculiarities of the 
race by which it is used. A writer in one of our 
quarterlies has advanced some interesting views 
on the subject. He traces the difference between 
the Teutonic major mood and the Celtic minor. 
The fourth and seventh degrees of the Teutonic 
scale are omitted in the Celtic. The peculiar 
wildness which characterizes Scotch melodies is 
wholly due to this fact. In Celtic music, the minor 
mood predominates; in Teutonic, the major mood. 
The Teuton can not appreciate and enjoy the Cel¬ 
tic music; nor can the Teutonic style charm the 
Celt, a fact not easily accounted for. 

Attention is also called by this writer to the 
fact that the middle and western parts of Virginia, 
North Carolina, South Carolina, and Georgia were 
settled chiefly with a people of Celtic blood; 
therefore, it is believed that Celtic provincialisms, 
social habits, and religious sentiments, are the 
prevailing characteristics of the inhabitants of 
the Southern States. 

This being the case, the general use of German 
music by the Southern people is unwise in the ex¬ 
treme. German music teachers never can success¬ 
fully instruct those who are of Celtic descent, and 


THE SERVICE OF SOHG. 


211 


we ought, therefore, to employ properly qualified 
Celto-American, or Anglo-American teachers. 

We receive, with some abatement, the general 
principle which underlies our author’s reasoning: 
nations have their peculiar style of music, as well 
as their peculiar laws and customs ; and men are 
apt to place a high estimate upon tliat which has 
come down to them from a former age, and with 
which they have been familiar from childhood. 
But we may err in the application of this principle. 
It is a fact, that throughout our whole country, 
those very tunes which the writer in the Review 
gives as specimens of “ the German choral,” such 
as Old Hundretli , Medway , and Nottingham , have 
well subserved the purposes of worship. Con¬ 
gregations composed of persons of both German 
and Scottish extraction, have sung them, enjoyed 
them, been benefited by them, and, for aught that 
has appeared to the contrary, the representatives 
of each country in an equal degree. 

The principle of adaptation would seem to re¬ 
quire a selection of tunes comprising favorite 
•pieces of both styles of music. In entirely dis¬ 
carding the Teutonic element, we should lose 
much; and to ignore the good, old, revival, 
Celtic minors, sung with such happy effect by our 
pioneer ancestors and their children, would be to 
make a void in our Church music which the finest 
modern compositions never could fill. 

The wants of a mixed population may be most ef- 


212 THE SERVICE OF SOHG. 

fectually met by a collection of pieces correspond¬ 
ingly miscellaneous. We can hardly suppose that 
our friend would object to a work comprising a 
judicious selection of German pieces, together 
with a liberal supply of such old minors as Sup - 
plication , Solemnity and Liberty Hall. 

With him, we prefer that which is American to 
that which is imported, whenever it can be made 
available. 

We can scarcely overstate the importance of a 
clear and distinct Articulation in devotional sing¬ 
ing. We can not confess our sins in music; we 
can not ask forgiveness in music; we can not 
thank and adore the Giver of all our blessings in 
music. There must be an exercise of mind as 
well as the pleasurable sensations produced by 
sweet sounds. Mere music is too indefinite and 
intangible a thing to be the vehicle of worship; it 
must be combined with suitable words. From 
sacred history, we learn that this alliance has ex¬ 
isted from time immemorial. 

If, then, we pretend to utter words when we 
sing, the utterance should, of course, be as correct 
and intelligible as possible: an indolent, artificial 
or slovenly enunciation can only be excused on 
the ground of ignorance, or of radical defective¬ 
ness in the vocal organs. 

A good articulation is as important to the singer 
as it is to the speaker. Even if the matter which 


THE SERVICE OF SONG. 


213 


tlie orator intends to discuss could by some means 
be known to tlie audience without the use of 
language, yet if he essay to employ words, a 
decent respect for the persons addressed requires 
that these words be spoken, not as in ridicule or 
mockery, but with propriety. 

Those who sing are expected also to listen, and 
in every congregation there are silent auditors. 
Now, if the words which are sting be so drawled, 
tortured, and jumbled together as to produce an 
unmeaning and ridiculous jargon, what better is 
that than speaking in the church in an unknown 
tongue? Is it not even more intolerable? St. 
Paul reproves the Corinthians for singing and 
praying in a language that the people did not 
understand, and he. declares that he had rather 
speak five words intelligibly than ten thousand 
words in an unknown tongue. “ Except ye utter 
by the tongue words easy to be understood, how 
shall it be known what is spoken ?” 

The editor of the Home Circle gives an 
account of an old man who, from sheer laziness, 
as it seemed, had acquired a trick of lapping his 
tongue under nearly every word he uttered in sing¬ 
ing— as “Culm thoul Fount” Some take un¬ 
warranted liberties with the letter d, by separat¬ 
ing it from the word to which it belongs, and carry¬ 
ing it over to the succeeding word, thus causing 


214 


THE SERVICE OF SOXGr. 


deficiency in the former 'and redundancy in the 
latter, as 

“An dare we yet alive?” 

“An dif our fellowship below”— 

Others have an indesciibable method of twirling 
certain letters, particularly the letter v. A dis¬ 
tinguished author informs us that this habit pre¬ 
vailed extensively in this country some years ago. 
He says that, in some places, there seemed to be 
an effort made by the sexes to outvie each other 
in this whirling, whizzing operation, and that the 
feminine contestants invariably took the palm. 

Bass singers not unfrequently ignore articula¬ 
tion almost entirely. Having apparently but little 
use for the tongue, they keep up a sort of un¬ 
earthly drone or groan, from the beginning to the 
end of the tune. 

Others attempt to edify us by a constant 
nasal twanging, taking care to begin the stanza a 
little in advance of the rest of the singers, and to 
sigh out the last syllable solo , that we may be 
enabled to appreciate the excellence of the per¬ 
formance ! 

The omission of letters, syllables, and even 
words, is a common occurrence. But time would 
fail us to point out all the different phases of a 
vicious articulation. 

These inaccuracies may, we think, be cor¬ 
rected with ease. The Italians have a proverb— 
“Bead w r ell —sing well.” All who read well 


THE SERVICE OF SONG. 


215 


do not sing well; yet good reading is evidently 
the basis of good singing. Let a half hour each 
day be spent in reading aloud, with the express 
design of acquiring a perfect articulation; then 
let the learner exercise himself in singing occa¬ 
sionally with direct reference to this object, and 
the difficulty will soon vanish. The habit will be 
formed of expressing every vowel, syllable, and 
word clearly. 

“ In the management of the voice, the first 
object,” says Mr. Turner, “will be to obtain a 
natural tone in its purest state. A pure voice is 
that which comes forth neat and clean from the 
chest , passing freely through the mouth. To pro¬ 
duce this, great care must be taken that the mouth 
be kept moderately open. If it be too much 
closed, the voice will strike against the teeth and 
lips, and be thereby vitiated and enfeebled; or it 
will cause that peculiar action of the nose, which 
renders the tone nasal.” 

Mr. Hirst says: “ The precise articulation of the 
words is an excellence that can not be neglected 
without injury to good music. Some singers are 
in the habit of giving a strange and fanciful, yet, 
to all persons who have any skill in language, 
disgusting pronunciation to many words ; so much 
so, that at times it would be difficult to ascertain 
what language they use.” 

Mr. Nathan observes : “ The formation of the 
mouth should not be altered while singing a vowel, 


216 


TILE SERVICE OF SONG. 


otherwise the correct pronunciation of such words 
as yes, no, smile, me, she, sigh, and many others, 
is destroyed, or changed into unmeaning expres¬ 
sions, as yeas , noa , smoil , moy, mea , shea floy, 
sigha , and so on. Is it natural to hear such a 
perversion of orthography from the lips of well 
educated persons, who would, no doubt, be very 
tenacious in speaking, but yet will make no scruple 
in thus departing from propriety in singing, when, 
in fact, one of the chief beauties in the science is 
elegant pronunciation ?” 

To secure this, let it always be borne in mind 
that the consonants must be spoken , and the 
vovrels sounded , that freedom being accorded to 
the voice which is claimed by the spirit of song. 
The sound must not be stilled in the throat of 
the singer, nor mutilated between the teeth. 

Attention should also be given to Accent, in 
music. In readings every word of more than one 
syllable has its accented letters, and every sen¬ 
tence has its emphatic words ; so in singing, the 
tunQ is divided into measures, and each measure 
has its accented, and its unaccented parts. It has 
been forcibly said that there is no more music in 
singing without accent than there is in the hum¬ 
ming of a bee. Such singing would be fitly repre¬ 
sented by reading when every syllable and every 
word received precisely the same stress of voice. 
A graceful and impressive accentuation does not 


THE SERVICE OF SONG. 


217 


require us to sing the unaccented parts of the 
measure in an ordinary tone, and then to pour out 
a full volume of voice on the accented notes. On 
the contrary, we should sing the accented sylla¬ 
bles with customary ease and force, restraining 
the voice on the unaccented parts. The degree of 
softness must, of course, depend upon the style of 
the music and the meaning of the words. Habit 
and a due appreciation of the spirit of the song, 
will enable us to place the accent correctly, almost 
without effort. An author who wrote twenty-five 
years ago gives us the following directions : 

** In common time remember well, by art, 

The first and third is the accented part; 

And if your music triple time should be. 

Your accent is the first of every three.” 

Much depends also upon the prefer management 
of the breath. 

“ Power or softness, volubility or sweetness, 
depend greatly on the prudent management of 
the breath. By a proper inflation of the lungs at 
the beginning of a note, the singer is enabled to 
give that gradual swell and diminution of voice 
which forms one of the most exquisite beauties 
of the science.” 

Breath should be taken at every pause in the 
music, but never in the middle of a word. It 
should not be lavished too freely upon the first 
note or two, lest the supply be exhausted before 
an opportunity occurs to replenish. In that case 


218 


THE SERVICE OF SONG. 


the voice loses its firmness and smoothness, and 
sinks into the tremulousness of extreme old age. 

“ Tonal utterance requires prolongation of 
sound. When this necessary condition of song is 
wanting, as it must he, if every pause which the 
sense of the hymn admits is allowed to suspend 
the voice, melody is destroyed, and singing be¬ 
comes declamation. Even that momentary cessa¬ 
tion of tone which is necessary in taking breath, 
constitutes an imperfection in singing, and the art 
of concealing the act of breathing, so as to break 
as little as possible the flow of a melody, is always 
cultivated by the best vocalists.” 

Care should be taken in singing to avoid all un¬ 
authorized embellishments. In reading, we should 
grossly misrepresent the author if we were to 
interpolate a half dozen words in every sentence; 
but many persons, in singing, do a like injustice 
to the composer of the tune, without compunction. 
What are intended to be grace notes and slurs are 
introduced into every measure with the view of giv¬ 
ing to the tune that vivacity and elegance which the 
author failed to impart to it. This mending opera¬ 
tion is bad enough in an amateur performance, but 
in public worship, it is incomparably worse. Of 
course no one can follow the innovator in all his 
windings and warblings: he must run around, 
above, and beneath, by himself; and the effect is to 
offend the ears and distract the minds of the wor¬ 
shipers, thus seriously marring the beauty and 


THE SERVICE OF SONG. 


219 


effect of the service. There are, doubtless, many 
singers, both male and female, who have uncon¬ 
sciously contracted this habit of ornamentation , 
and who would do well to correct it as speedily as 
possible. 

Attitude in singing is a subject which deserves 
consideration. Standing was unquestionably the 
posture observed by the singers in the olden time. 
They were directed “ to stand every morning to 
thank and praise the Lord, and likewise at even.” 
The Psalmist says: “ Praise ye the Lord. Praise 
ye the name of the Lord: praise Him all ye ser¬ 
vants of the Lord. Ye that stand in the house of 
the Lord, in the courts of the house of our God.” 
From the fact that the standing posture for 
singers is frequently alluded to in the Scriptures, 
and sitting never, we may certainly conclude 
that the former is preferable. Superiors may be 
expected to sit in the presence of inferiors; but 
standing is a reverential attitude such as becometh 
those who would worship the Most High in song. 

A standing position is also much to be preferred 
because it gives such freedom to the chest, and 
such power to the vocal organs generally, as can 
not be commanded by those who remain seated. 

It is frequently very difficult to overcome that 
feeling of languor and drowsiness which is apt to 
steal upon those who, being accustomed to physi¬ 
cal activity, sit down quietly in the church, wear- 


220 


THE SERVICE OF SOHG. 


ing more than their usual quantity of clothing. 
This sleepy influence must Ibe overcome, or it 
will assuredly assert its dominion over its sub¬ 
jects. To sit during the entire service, is 
most favorable to Morpheus; but to stand up fre¬ 
quently, and exercise the voice and the heart in 
singing, is well calculated to arouse the energies 
of both body and mind, and to promote that 
spiritual fervor which should ever characterize 
our worship. 

“ The restoration of the old, chaste music, about 
the year 1808, awakened an interest in singers of 
preceding generations. Ministers and Churches 
were satisfied that poor singing made a miserable 
congregation; and, as one writer says, made an 
open window for the preacher’s instructions to 
escape. It was now fondly anticipated that a 
generation of singers would rise up and sing. 
Rise up and sing , did we say? This might be 
said of some congregations now, as it was of those 
who sang praises to God in the days of the patri¬ 
archs and prophets ; but it is entirely inapplicable 
to religious meetings in these days, when wor¬ 
shipers take their seats when they enter the vestry 
or place of worship, and many of them never rise 
till the closing benediction or doxology. This 
custom has not been of long continuance; and we 
believe, if Christians were awake to the best inter¬ 
ests of their own souls, and the souls of sinners, 
they would not sluggishly sit and sing, when 


THE SERVICE OF SONG. 


221 


neither the voice nor the spirit of the song seems 
to rise above the seats which they occupy.” 

Let no one but an invalid claim to have suffi¬ 
cient reason for sitting during the singing. We 
are informed that the Pilgrim fathers sometimes 
sang thirty stanzas at one time, standing all the 
while, after standing through a long prayer! The 
singing of one psalm sometimes occupied a full 
half hour, and the prayer frequently a longer 
time! 

Not long since, Dr. Guthrie, a distinguished 
divine of Edinburg, expressed from the pulpit 
“ a wish to disburden his conscience ” on a matter 
which had long pressed upon it. He said that the 
proper attitude for singing was standing—proper, 
because it was an act of worship; and proper, be¬ 
cause it was the better fitted for an act of singing. 
He said he believed that there was a prejudice in 
favor of sitting during the singing of the Psalms, 
on the ground that it was a good old Scotch cus¬ 
tom. This was an entire mistake. The good old 
Scotch custom was to stand ; and sitting was first 
introduced into Scotland by the recommendation 
of the Westminster Commissioners, who desired 
uniformity in worship in both parts of the island. 
It was introduced into Scotland in compliance 
with English prejudices. 

This subject is eminently worthy of regard. 
Doubtless there might be an improvement, even 
in Churches where it is customary to stand at the 


222 


THE SERVICE OF SOHG. 


‘beginning and close of the service, and to sit dur¬ 
ing the singing of the second hymn. Why not 
always stand when we engage in the service of 
praise ? Where it is the custom to kneel in prayer, 
it seems to “be especially appropriate to stand in 
singing. 


THE SERVICE OF SONG. 


223 


CHAPTER V. 

INSTRUMENTAL MUSIC. 

Invention of Musical Instruments — Egypt Claims Precedence — Also 
the Chinese — Devotion of the Grecians to Music — Romans — 
Music in Great Britain — The Organ — Dr. A. Clarke on Instru¬ 
mental Music — Richard Baxter’s View— Horne and Richmond — 
What Richard Watson says — David — Silence of Christ and 
the Apostles on the subject — J. Wesley’s advice as to Organs — 
Portrait of a Good Organist — Various kinds of Instruments — 
We should always Sing Spiritually — Church Service should be 
Attractive — Objections Neutralized — The best Arrangement. 

We have already seen that musical instruments 
were invented by Jubal, about five hundred years 
after the Creation. 

Instrumental, as well as vocal music, was com¬ 
mon among the Jews, from the days of Moses until 
their national existence ended under the crushing 
sway of Imperial Rome. It was used, as we have 
seen, in their public worship, in their wars, and at 
their social gatherings, whether for mourning or 
rejoicing. 

Egypt puts in her claim as the inventor of in¬ 
struments of music. Tradition states that, “ the 
Nile having overflowed its banks at the periodical 
time for the rise of that wonderful river; on its 
subsidence to its usual level, several dead animals 


224 


THE SERVICE OF SOHG-. 


were left on the shore; and, among the rest, a 
tortoise, the flesh of which being dried and wasted 
in the sun, nothing remained within the shell hut 
nerves and cartilages, which, being lightened and 
contracted by the heat, became sonorous. Mer¬ 
cury, walking along the banks of the river, hap¬ 
pened to strike against this shell, and was so 
pleased with the sound produced that the idea of 
the lyre suggested itself to his imagination. The 
first instrument he constructed was in the form of 
a tortoise, and was strung with the sinews of dried 
animals.” 

The Mercury here mentioned was so called by 
the Latins, but was named Hermes by the Greeks, 
and Thent or Thoth by the Egyptians. He was 
secretary to Osiris, one of the kings of Egypt. 

The Chinese also claim to be the inventors of 
musical instruments. Their first prince, Fo Hi, it 
is said, “ made a most beautiful lyre and guitar, 
adorned with precious / stones, which produced a 
most noble harmony, curbed the passions, and 
elevated man to virtue and heavenly truth.” 

Great attention was given to music in Babylon 
during the captivity of the Jews, about five hun¬ 
dred and sixty years before Christ. At the sound 
of the “ cornet, flute, harp, sackbut, psaltery 
dulcimer, and all kinds of music,” the people were 
required to fall down and worship the image which 
Nebuchadnezzar had set up. 

The Grecians were renowned for their knowl- 


THE SERVICE OF SONG. 


225 


edge of astronomy, philosophy, poetry, music, and 
the other branches of science. But, as Fermely 
says, “ in the period of their greatest barbarism, 
this art (music) outweighed every other merit.” 

Music is mentioned in the Iliad and Odyssey 
upward of fifty times, and always with rapture. 
Yocal music seems to have been most general. 
Homer speaks of singing without instruments; but 
never of instrumental music apart from vocal. 

The Homans cultivated music with some success* 
having received much aid in that, as in the other 
sciences, from the Grecians. 

Music, both with and without instruments, has 
been assiduously cultivated in Great Britain from 
an early period of her history to the present time. 

When the Puritans left their native shores and 
took up their abode in the Hew World, they 
eschewed all display in Divine worship; and, 
of course, rejected instrumental music with 
Cromwellian determination. This proscription 
continued for a century. Eventually, the pitch- 
pipe was allowed in the Church; then the tuning- 
fork, the flute, the hautboy, the clarionet, the 
bassoon, etc., and, chief among the rest, the organ. 

There is a difference of opinion as to the time 
when this noble instrument was initiated into the 
service of the Church. Some fix the date in the 
fourth century; some in the eighth, and others 
contend for a still later period. The following 
description, it is said, was written one thousand 


226 


THE SERVICE OF SONG. 


three hundred years ago: “ The organ is an instru¬ 
ment of divers pipes, formed with a kind of tower, 
which by means of bellows is made to produce 
a low sound; and, in order to express agreeable 
melodies, there are in the inside, movements made 
of wood, that are pressed down with the finger of 
the player, and produce the most pleasing and 
brilliant tones.” 

Hirst quotes St. Jerome’s assertion, of doubtful 
authority, of an organ with twelve pairs of bellows, 
which might be heard at the distance of nearly a 
mile; and another at Jerusalem that might be 
heard at the Mount of Olives. It is said that, in 
A. D. 757, an organ was presented to Pepin, King 
of France. During the tenth century, the use of 
the organ became general in Germany, Italy, and 
England, but differed materially from the organ 
of our day. 

A few centuries ago, the rage for rigid simpli¬ 
city banished the organ from Scotland, designa¬ 
ting it “The deviVs box o’ whistle pipes.” 

The first organ used in America, if we are cor¬ 
rectly informed, was imported in August, 1713, by 
Thomas Brattle, Esq., for Queen’s Chapel, Boston. 
The first organ of American manufacture was 
built by Edward Bromfield, of Boston, in the year 
1745, 

Much has been said, pro and con, on the subject 
of instrumental music in Church service; some 
contending that instruments should be used, not 


THE SERVICE OF SOHG. 


22? 


alo,ne, but as an accompaniment to the voice; 
others maintaining that the music should be 
strictly vocal. 

In this controversy, “the law of the Lord” is, of 
course, the only arbiter; but a wide dilference of 
opinion exists as to what the Scriptures teach on 
the subject, as will be seen from the following ex¬ 
tracts : Dr. Adam Clarke asks—“Did ever God 
ordain instruments of music to be used in His 
worship ? Can they be used in Christian assem¬ 
blies according to the spirit of Christianity ? Has 
Jesus Christ or His Apostles ever commanded or 
sanctioned the use of them.? Were they ever used 
anywhere in the Apostolic Church? Does the 
use of them at present in Christian congregations 
ever increase the spirit of devotion ? Does it ever 
appear that bands of musicians, either*in their 
collective, or individual capacity, are more spirit¬ 
ual, or as spiritual as the other parts of the Chris¬ 
tian Church ? Is there not more pride, self-will, 
stubbornness, insubordination, lightness and fri¬ 
volity, among such persons than among other 
professors of Christianity found in the same 
religious community? Is it ever remarked or 
known, that musicians in the house of God have 
ever attained to any depth of piety, or superior 
soundness of understanding, in the things of God ? 
Is it ever found that those Churches and Chris¬ 
tian societies which have, and use instruments of 
music in Divine worship, are more holy, or as 


228 THE SERVICE OF SONG. 

holy as those societies who do not use them? 
And is it always found that the ministers who 
recommend them to be used in the worship of 
God are the most spiritual and useful preachers ? 
Can mere sounds, no matter how melodious, where 
no sentiment is or can be uttered, be considered 
as giving praise to God ? Is it possible that pipes 
or strings of any kind can give God praise ? Can 
God be praised with sounds which are emitted by 
no sentient being, and have in themselves no 
meaning? If thesexpiestions can not be answered 
in the affirmative, then is not the introduction of 
such instruments into the worship of God anti- 
Christian ; calculated to debase and ruin the spirit 
and influence of the Gospel of Jesus Christ ? And 
should not all who wish well to the spread of pure 
and undefiled religion, lift up their hands, their 
influence and their voice against them?” 

The pious and acute Richard Baxter, speaking 
of music, says : “It is not an instituted ceremony 
merely, but a natural help to the mind’s alacrity; 
and it is a duty, and not a sin, to use the help of 
nature and lawful art, though not to institute sac¬ 
raments of our own. As it is lawful to use the 
comfortable help of spectacles in reading the 
Bible, so it is of music, to exhilarate the soul to¬ 
ward God. Jesus Christ joined the Jews in the 
use of it, and never spoke a word against it. . . . 
It is not a human invention, as the last Psalm, 
and many others show, which call us to praise the 


THE SERVICE OF SONG. 


229 


Lord with instruments of music. Why should 
the experience of some privileged, self-created 
person, or half-man, that Knows not what melody 
is, be set up against the experience of all others, 
and deprive them of all such helps and mercies, 
as these people say they find no benefit by ?” 

Dr. Gouden, bishop of Exeter, who lived in the 
time of both the Charleses, says: “Who doubts 
but that David, and the whole Church of the Jews, 
served God in spirit and in truth, amid those joy¬ 
ful and harmonious sounds which they made with 
singers and instruments of music ? The gift and 
use of music is so sweet, so angelical, so heaven¬ 
ly and Divine, that it is a pity God should not 
have the use of it in His service, and the Church 
an holy and comfortable use of it. Such an 
orient pearl ought not to be used only in civil 
conventions, or abused in wanton carols and vain 
effusions, which is to put a jewel in a swine’s 
snout. Certainly the Christian Church hath more 
cause to rejoice than the Jews had.” 

To the same effect are the sentiments of Bishop 
Horne, Leigh Richmond, and many others equally 
distinguished for piety and learning. 

“Instrumental music,” says the Rev. Richard 
Watson, “was first introduced into the Jewish ser¬ 
vice by Moses, and afterward, by the express 
command of God, was very much improved by 
the addition of several instruments in the reign of 
David.” 


230 


THE SERVICE OF SOHG. 


The introduction of instrumental music into the 
Church service by Moses, was, we suppose, more 
a matter of inference with Mr. Watson than of 
knowledge,^inasmuch* as the Scriptures give no 
definite information on the subject. 

As to the conduct of David, and the authority un¬ 
der which he acted, there should be no controversy. 
“When David was old and full of days, he made 
Solomon, his son, king of Israel. And he gathered 
together all the princes of Israel, with the priests, 
and the Levites,” to order and establish the ser¬ 
vices of the Sanctuary. The Levites were num¬ 
bered and divided into companies, and to each 
division, appropriate functions were assigned. 
Hence, it is said that “four thousand praised the 
Lord with their instruments which I made, said 
David, to praise therewith. And David divided 
them into courses.” 

That David was, at this time, a good man and 
Divinely inspired, there can be no question; for 
when Hezekiah restored the temple service which 
had been neglected during his predecessor’s reign, 
it is said that “he set the Levites in the house of 
the Lord with cymbals, with psalteries and with 
harps, according to the commandment of David, 
and of Gad the king’s seer, and Nathan the pro¬ 
phet, for so was the commandment of the Lord 
by His prophets.” It is, therefore, evident that 
David, in making his arrangement for instrumen¬ 
tal music, acted as a man of God, under Divine 


THE SERVICE OF SOHO. 231 

direction, witli the concurrence of “Gad the king’s 
seer, and Nathan the prophet.” The criticism 
by which it is attempted to be shown that David 
acted on his own responsibility in this matter, and 
against the Divine will, is utterly futile. 

The supposition that the prophet Amos cen¬ 
sures David for the introduction of musical instru¬ 
ments into the Church, is almost too improbable 
to deserve notice, and especially as the author, 
who thus construes the words of the prophet, 
quotes with approbation the following eulogy on 
David, written by Mr. Delaney: “To sum up all, 
David was a true believer, a zealous adorer of 
God, teacher of His law and worship, and inspir- 
er of His praise. A glorious example, a perpet¬ 
ual and inexhaustible fountain of true piety. A 
consummate and unequaled hero; a skilful and 
fortunate captain; a steady patriot; a wise ruler; 
a faithful, generous and magnanimous friend, and, 
what is yet rarer, a no less generous and magnan¬ 
imous enemy. A true penitent; a Divine musi¬ 
cian ; a sublime poet, and an inspired prophet. 
By birth, a peasant; by merit, a prince ; in youth 
a hero; in manhood, a monarch; and in age, a 
saint.” 

Among the last acts of David’s life, was this or¬ 
dering of instrumental music in the Sanctuary. 
This was done in his old age, when he was a 
saint. How, then, could he have contravened the 
Divine will in a matter of so much importance ? 


232 


THE SERVICE OF SONG. 


The passage in the book of Amos, which is 
supposed to be reprehensive of the conduct of 
David in regard to musical instruments, was writ¬ 
ten more than two hundred years after David had 
entered into rest, and by no means requires an 
interpretation which would censure the “sweet 
Psalmist.’’ 

The prophet addresses the unfaithful Israelites 
as follows : “Ye that lie upon beds of ivory, and 
stretch themselves upon their couches, and eat 
the lambs of the flock, and the calves out of the 
midst of the stall; that chant to the sound of the 
viol and invent to themselves instruments of music 
like Dnvid; that drink wine in bowls, and anoint 
themselves with the chief ointments; but they are 
not grieved for the affliction of Joseph.”—Amos 
vi. 4-6. 

“This is an elegant description of the bad use 
men too often make of a plentiful fortune; so 
that it shuts out all serious consideration, and 
makes them void of compassion toward persons 
in want and misery, and to regard nothing but 

their present gratification.Who, though 

but private persons, make use of all manner of 
musical instruments the same as David did when 
he was a king; and employ as great a variety of 
music for their own diversion as he did in the 
service of God.”* 


Benson. 



THE SERVICE OE SONG. 


233 


This is certainly a reasonable exposition, and 
should, it would seem, be satisfactory to all. 

Moreover, if this official act of David was un¬ 
authorized, may not other ordinances of his fall 
under condemnation ; and if his conduct in a case 
of this sort was reprehensible, how can his writ¬ 
ings be received as infallible truth ? 

Again, the use of instrumental music is incul¬ 
cated by others of the inspired writers besides 
David. Are they, also, to be censured ? 

David sinned grievously, it is true, on a certain 
occasion, but he sincerely repented and obtained 
forgiveness. There is not, as -we conceive, the 
slightest ground for the insinuation that he trans¬ 
gressed in the arrangement of the temple service 
just as he was about to fall on sleep , after having 
“served his generation by the will of God.” We 
reach the conclusion, therefore, that instrumental 
music, in connection with vocal, was used in the 
service of God in the olden time with Divine ap¬ 
probation. 

The question, then, arises as to its lawfulness 
and expediency under the Christian dispensation. 
On this subject, nothing was said, so far as we 
know, either by Christ or his Apostles. 

“ After the most diligent inquiry,” says the 
learned Dr. Burney, “ concerning the time when 
instruments of music had admission into the 
ecclesiastical service, there is reason to conclude 
that, before the reign of Constantine, as the con- 


234 


THE SERVICE OF SONG. 


verts of tlie Christian religion were subject to 
frequent persecutions and disturbances in their 
devotions, the use of instruments would hardly 
have been allowed; and, by all that can be col¬ 
lected from the writings of the primitive Christians, 
they seem never to have been admitted. But after 
the full establishment of Christianity as the na¬ 
tional religion of the Roman Empire, they were 
used in great festivals, in imitation of the He¬ 
brews, as well as pagans, who, at all times, have 
accompanied their psalms, hymns, and religious 
rites, with instruments of music.” 

Why this silence of the Hew Testament writers, 
and this abstinence from the use of instrumental 
music for sacred purposes in the early ages of the 
Christian Church? Was it a legal ceremony, in¬ 
stituted by Moses, and abolished when the gospel 
dispensation was initiated? We think not. In¬ 
strumental music was devoted to religious uses 
before the giving of the law. Miriam the proph¬ 
etess, the sister of Aaron, to celebrate the deliver¬ 
ance from Pharaoh and the Egyptians, “ took a 
timbrel in her hand, and the women went out after 
her with timbrels and dances.” Therefore, the 
custom not having been introduced by the cere¬ 
monial law, it is not conclusive that it was abol¬ 
ished when that law was abrogated. 

Many of the forms and postures adopted in 
Divine service under the former dispensation are 
still continued; why, then, may not this mode of 


THE SEKVICE OF SONG. 


235 


praising God be allowed ? If it were an arbitrary 
and harsh enactment which derived all its value 
simply from the appointment of God, and sub¬ 
mission to His authority, some would think it 
might be discontinued without a special revoca¬ 
tion. But this is not the case. Good music, 
whether vocal or instrumental, charms the ear, 
and can not be regarded as 4 burden, either to the 
performer or the listener. 

We hold that vocal music partakes as much of 
a typical character as does instrumental music, 
and that neither was ever intended to be em¬ 
blematical of anything but the praises of God in 
heaven. The argument, then, which would exclude 
the one on the ground of its being a Levitical cere¬ 
mony, would also abolish the other. Of what 
good thing under the Christian dispensation could 
instrumental music have been typical ? 

The silence of Christ and His Apostles may, as 
we conceive, be appropriately urged in favor of its 
legitimacy in the present day. The gospel was first 
preached to the Jews. The Apostles sometimes 
worshiped in synagogues; but we have no inti¬ 
mation that the use of instruments of music in the 
worship of God as it obtained in the synagogue 
service was contrary to the spirit of Christianity. 

When St. John was permitted to listen to the 
songs of the celestial choir, he heard “ the voice 
of harpers, harping with their harps.” Why, then, 
should the inhabitants of heaven be represented 


236 THE SERVICE OF SONG. 

as doing that which is not proper to be done on 
earth ? 

It may be said that this is figurative language, 
and that a literal harping is not meant. But if 
instrumental music be so utterly unsuited to the 
purposes of worship as some imagine, it is strange, 
indeed, that it should be made the emblem of 
Divine worship on high. 

Inasmuch, therefore, as instrumental music was 
allowed in the Church service by Divine authority, 
and inasmuch as this grant has never been revoked 
by the Head of the Church, therefore, it is still 
lawful to use instruments as aids to devotion. 

The question, then, becomes one of expediency 
simply. It is the duty of the Christian to reject 
whatever is of evil tendency, and to cherish what¬ 
ever is calculated to advance the Redeemer’s 
kingdom, without demanding in every case ex¬ 
press Scriptural warrant. Many things are lawful 
which are not expedient, and that which was ex¬ 
pedient in days gone by may now be inexpedient. 
The great general principle which is applicable to 
all times and places is thus enunciated by the 
Apostle: “ Whether, therefore, ye eat or drink, or 
whatsoever ye do, do all to the glory of God.” 
We are as sacredly bound to refrain from that 
which is inexpedient as we are to eschew what is 
positively forbidden in the Scriptures. Without 
putting it into the category of merely legal cere¬ 
monies, there were, doubtless, reasons for its em« 


THE SERVICE OF SONG. 


237 


ployment under tlie Jewish dispensation which do 
not now exist. In former times, Jerusalem was 
the great metropolitan city of the Church, and the 
temple was the grand rallying point for believers 
throughout the world. Immense multitudes were 
here assembled, from time to time; and, as much 
of the singing was responsive, thousands of voices 
joining in the burden or refrain at the appropriate 
instant in the exercises, instruments may have 
been needed to control the immense mass of 
sound. 

Again, under the former dispensation, the senses 
were more directly appealed to than they are 
under the auspices of the Christian Church. Then 
it was meet, not only that the eye should be daz¬ 
zled by a gorgeously ornamented sanctuary, but 
also that the ear should be charmed with instru¬ 
mental, as well as vocal music. Now, although 
the use of instruments is not forbidden, yet it is 
thought by many that the human voice unaccom¬ 
panied best befits the simplicity and spirituality 
of the gospel. 

The following judicious advice was long ago 
given to the Methodists by John Wesley: “Let 
no organ be placed anywhere till proposed in the 
Conference.” This distinguished minister of Christ 
believed in the legitimacy of instrumental music 
in Divine worship, even in these latter times; 
otherwise he would have uttered an emphatic voice 
against it. The Conference could not have legal- 


238 


THE SERVICE OF SONG. 


ized that which was forbidden in the Scriptures. 
Still, as the New Testament evidently does not 
require the use of organs, and as many of the 
people were opposed to them, precipitate and 
arbitrary measures in the premises could only do 
harm. It was inexpedient to introduce organs 
into the churches until the prejudices against 
them were, in the judgment of the Conference, 

' sufficiently allayed to admit of their favorable 
reception. 

In the year 1811, there was some controversy in 
Liverpool in regard to organs in two of the 
churches in that city. The question was discussed 
in the Wesleyan Conference ; the introduction of 
organs into both churches was sanctioned, and no 
mischief followed. 

Dr. Lowell Mason says: “ A judicious accom¬ 

paniment seems to be indispensable to complete 
success. Such an accompaniment guides, sustains, 
strengthens, and relieves the vocal parts. It pro¬ 
motes good tone and correct intonation, and ren¬ 
ders vocal music pleasing and effective. But the 
art of accompaniment seems to be as little under¬ 
stood and as much abused by instrumentalists as 
is the art of singing by vocalists.’’ 

“ The organ,” says the Bev. J. B. Scott, “ not 
only adds sweetness, variety, and compass to the 
song, but is highly useful in sustaining the singers’ 
voices, promoting accuracy of pitch and time. . . . 
Only let its effect be, not to smother and overpower, 


THE SERVICE OF SONG. 


239 


but to enhance the force of the sentiment sung.” 

We freely admit that the highest degree of 
musical gratification can not be afforded without 
the aid of instruments; but we contend, neverthe¬ 
less, that in congregational singing, “ complete 
success ” may be achieved without them. We are 
by no means disposed to admit that the best effect 
of the service of song can only be realized when 
the music is faultless, or when its charms are such 
as to lead us captive. 

A high authority says: “Music is an exceedingly 
absorbing thing; and, particularly in its more 
embellished and elaborate form, it naturally with¬ 
draws attention from all else, even from the words 
associated with it, and concentrates the mind upon 
itself.” 

An American traveler in Germany, a few years 
since, asked, in what Church he could find the best 
music. The answer was: “ There is no music 
here, except once or twice a year, on the occasion 
of some great festival.” “But, do not the people 
sing in Church ?” “ 0, yes; they sing hymns, but 

there is no music.” 

Here was a clear distinction between mere mu¬ 
sical enjoyment and the praise of God in song. 
In all our meditations upon this subject, let the 
idea of worship be prominent. Congregational 
singing should, of course, be good; it should 
please the ear, inform the mind, and affect the 
heart. It should always appropriately embody 


240 THE SERVICE OF SONG. 

the sentiment, and this, we think, can he success¬ 
fully done by the voice alone. 

A chorister whose talent, knowledge, and ex¬ 
perience, will not enable him to pitch the tune 
correctly without adventitious aids, had better 
give place to a more competent leader. A con¬ 
gregation of worshipers who can not maintain the 
proper key, or a correct intonation, through the 
tune, especially when assisted by a well trained 
choir placed in their midst, had better give atten¬ 
tion to the rudiments of music; or, if they will 
be patient, practice alone will enable them to 
overcome many difficulties. Who of us has not 
frequently heard melodious, harmonious, soul¬ 
stirring singing—singing that was in the highest 
degree effective—where there was no instrumental 
accompaniment ? 

It is said that “ a good organ may be made an 
invaluable aid to congregational singing, as is 
proved all over the continent of Europe, where the 
most majestic music is made by the people follow¬ 
ing the lead of the organ, and frequently without 
the help of a choir.” 

We suppose that Germany is here especially 
referred to. All that can be affirmed by our 
author is, that where musical education prevails, 
the people sing well with the aid of an organ. 
We will here take the responsibility of affirming, 
that, where the people are musically educated, 
they can sing well without the help of an instru- 


THE SERVICE OF SONG. 241 

ment. We thus reach the conclusion that an in¬ 
strument is not indispensably necessary. 

A great difficulty lies in the fact that, in America 
especially, musical education has been too much 
ignored. Hence, in procuring organists, and other 
instrumental performers, the Churches frequently 
have recourse to the opera or the theatre! To 
mention the custom is to condemn it. 

To show what likelihood there is of obtaining 
for the Churches suitable performers, we give the 
following portrait of a good organist: “ An ability 
to play well is not the only qualification needed 
in an organist. He should be a pious man, or at 
least one who has a deep sense of the solemnity 
of public worship. He should be a man of quick 
sensibility, or he will neither enter into the spirit 
of the words sung, nor of the other exercises. He 
must be a man of good judgment, or he will make 
the most fatal mistakes in accompanying such 
hymns as call forth, in different stanzas, emotions 
of a different character. He should understand 
the nature of liis instrument and the object of its 
introduction into the Church, as an accompani¬ 
ment to the voices—subservient to vocal effect, or 
rather designed to promote it. Were such organ¬ 
ists employed, there would be fewer complaints 
of loud and meaningless playing—of long, flour¬ 
ishing and fanciful interludes, foreign to the sub¬ 
ject, and unfit for the Church.” 

The organ is too large and too expensive for 
16 


242 


THE SERVICE OE SONG. 


most of the Churches in America, and hence, the 
temptation to introduce smaller instruments of 
various sorts. The historian exhibits to us the 
unhappy results of such a state of things. Going 
back thirty years from the present to scenes which 
he witnessed in some churches on this side of the 
Atlantic, he says, after speaking of the clarionet, 
bassoon, hautboy, etc., that “to tune the bass- 
viol with these variable instruments caused much 
necessary, and more unnecessary sawing and snap¬ 
ping of strings and squeaking of* the wind instru¬ 
ments, to the no small annoyance of hearers. 

This exercise of tuning could be borne with, for 
once, at the commencement of worship; but this 
was not the end—they must be tried and proved 

before each singing.Soon there came a 

struggle between voices and instruments, and the 
instruments struggled for mastery among them¬ 
selves .The strings of the double-bass, 

when that was introduced, must be sawed with 
such violence that the crash of the string on the 
finger-board made a more conspicuous noise than 
the vibration. This display, added to the tuning 
of the instruments, while the minister was read¬ 
ing the hymn, if not during other services, must 
have been of wonderful assistance to his devotional 
feelings! ” 

It is admitted by some that the organ is un¬ 
suited to times of revival, social religious meet¬ 
ings, and sacramental services. At such seasons, 





THE SERVICE OF SONG. 


243 


Christians are wont to dispense with all unneces¬ 
sary forms, that they may worship God with -that 
earnestness, simplicity, and faith which bring 
blessings upon the soul. But why should not this 
same fervor of spirit always characterize believers 
when they enter the sanctuary ? “ God is a Spirit, 

and they that worship Him must worship Him in 
spirit and in truth.” In the great congregation, 
let the hearts of the faithful be so fired with a 
holy zeal as to send out a genial warmth upon the 
entire assembly. Interludes and voluntaries on 
the organ, and the general predominance of sound 
over sentiment, tend to cool the ardor of devotion. 
Divine service must have its forms, even under 
this dispensation of the Spirit; but dalliance 
and parade in the service should be avoided. 
The multitude, it is true, should be attracted, but 
not with gorgeous displays and merely sensuous 
enj oyments. There is that in “newness of spirit ” 
which will more favorably, and more powerfully 
impress the popular heart than all the parapher¬ 
nalia that art can devise. 

It is contended by many judicious and faithful 
members of the Church that, while we should reso¬ 
lutely oppose the use of unbecoming forms and 
ceremonies in religious services, it is, nevertheless, 
our duty to make the worship as pleasing and at¬ 
tractive as its peculiar nature will allow. It is 
urged that the effect of instrumental music, espe¬ 
cially upon the young, is most beneficial; and that 


244 


THE SERVICE OF SONG. 


it is our duty to use all legitimate means to attach 
them to that Church which we prefer. The church 
edifice should be neat and imposing; the preach¬ 
ing should not only be evangelical, but popular; 
and the music in the church should be such as to 
edify and satisfy persons whose taste has been 
properly directed and cultivated. 

Moreover, the cabinet organs, so much, and 
so successfully used in many of the smaller 
churches throughout the country, render nuga¬ 
tory much that has been said in regard to 
the difficulty of procuring proper organists; 
inasmuch as there are, in most places, ladies con¬ 
nected with the Church who are competent and 
willing to perform on these instruments. Experi¬ 
ence, too, has done much toward meeting the ob¬ 
jections which have been urged against the use 
of instrumental music in the Church. With the 
most determined opposers, one year’s probation 
is often sufficient to extirpate prejudice, and to 
enroll them with the advocates of the organ. 

In many churches, the introduction of an instru¬ 
ment would evidently be inexpedient; but where 
circumstances favor, we are inclined to the opinion 
that there should be, as the best arrangement pos¬ 
sible, an organ and a choir to lead in the song; 
and that all the people should stand up with book 
in hand, containing both the words and the notes, 
that they may unite in the singing, understand- 
ingly, heartily, spiritually. 


THE SERVICE OF SONG. 


245 


CHAPTER VI. 

S PI RITUAL SINGING. 

The Young Convert — Are we Prepared to Sing in Heaven — 
Indifference — The Psalmist Praised God Heartily — Ardor of 
the Apostles and Early Christians — Heartfelt Song should 
Celebrate the later Triumphs of the Cross — Formality in Sing¬ 
ing the Great Evil — Science in Singing should be Recognized 

The question still recurs—How should we sing ? 
The answer is—with a reverential, believing, lov¬ 
ing. joyful, thankful heart. While the carnal 
mind has dominion over us, we can not properly 
praise God. We may hear the gospel, and sing 
and pray, as the means of conversion; bat we can 
not perform acts of worship while the heart is un¬ 
changed. We must wait patiently for the Lord; 
we must cry unto Him; He must take our feet out 
of the horrible pit, out of the miry clay, and set us 
upon a rock. Then it is that we are prepared 
to sing the “ new song.” The young convert lifts 
up his voice and exclaims, u 0 Lord, I will praise 
Thee: though thou wast angry with me, Thine 
anger is turned away, and thou comfortedst me. 
Behold, God is my salvation; I will trust, and not 
be afraid; for the Lord Jehovah is my strength 
and song; He also is become my salvation.” 

Ho we possess the spirit of praise ? This is the 


24 6 


THE SERVICE OF SOHG. 


important question which each one of us should 
propound to his own heart. This glad, enraptur¬ 
ing spirit animates all the heavenly hosts; and, 
on earth, it fires the souls of all who are traveling 
to Zion. It is manifest, therefore, that destitution 
of this spirit of adoring love furnishes just cause 
for alarm. If we are unprepared to unite in the 
worship-song in houses made with hands, how 
shall we unite with the millions who throng the 
courts of the upper Sanctuary ? What though our 
Heavenly Father looked in boundless compassion 
upon our fallen race; what though Jesus our 
Savior died on the Cross for the sins of the world; 
what though the Comforter has come to abide 
with the Church; what though the Bible, the 
preached word, the sacraments, and the influence 
of holy example, are all ours; what though the 
heavenly Jerusalem stands in imperishable beauty 
and grandeur, with her jeweled walls, her gates 
of pearl, her trees perennially green and fruitful, 
her flowers of immortal fragrance, her azure skies, 
her Sun that never goes down, and her countless 
companies of shining, rejoicing worshipers, with 
their everlasting songs of celestial sweetness—it is 
plain that we never can enter there without hearts 
attuned to praise. 

Having received the Spirit of adoption, we must 
hold constant communion with God, that we may 
be prepared to worship Him in this life and in 
that which is to come. 


THE SERVICE OF SONG. 


247 


Prayer and praise must be conjoined. a O Lord, 
open Thou our lips, and our mouth shall show 
forth Thy praise.” 

It is painful to see the indifference which is fre¬ 
quently manifested by many who profess to be 
worshipers. Hear Him who abhors a soulless 
offering: “ This people draw near to Me with their 
mouth, and with their lips do honor Me, but have 
removed their heart far from Me.” Hear Him 
speaking to the careless formalist: “ Take thou 
away from Me the noise of thy songs; for I will 
not hear the melody of thy viols.” 

“ God is a Spirit just and wise, 

He sees our inmost mind; 

In vain to heaven we raise our cries, 

And leave our souls behind.” 

Dr. Adam Clarke says that a good singer, who 
has not the life of God in his soul, is vox et prceterea 
niliil* But another author thinks there is some¬ 
thing more, and reminds us that “ whatsoever is 
not of faith is sin.” 

Singing is a highly expressive art; it purports 
to be the outgushing of the soul. Therefore, sing¬ 
ing which has no emotion in it is evidently a cold 
and barren failure. 

We need scarcely remark that in every attempt 
to worship God, there should be a vivid conscious¬ 
ness of the solemnity and importance of the act; 
that thoughts of business or of pleasure, thoughts 


A voice, and besides it—nothing. 


248 


THE SERVICE OF SOHO. 


of the multitude wlio may he present, thoughts 
of the elegance of the poetry, or the excellence 
of the music—all thoughts of all things—should 
he swallowed up in the great thought that God is 
in us and around us, and that He is infinitely 
worthy of our adoration. 

We are to he “ rooted and grounded in love.” 
Love is the genial soil from which are to spring 
the sweet fiowers and wholesome fruits of obedi¬ 
ence and resignation, gratitude and joy. It is 
love which animates the angels and the spirits 
of just men made perfect, in their ceaseless 
songs around the throne. “ The love of Christ 
constraineth us,” is the experience of all the 
faithful on earth; and without love, or the de¬ 
sire for it, all our singing is hut “as sounding 
brass, or a tinkling cymbal;” a noise which God 
would have removed from Him. 

How repeatedly and emphatically do the Scrip¬ 
tures denounce a merely formal religion! How 
urgently do they inculcate the necessity of holi¬ 
ness of heart, and fervency of spirit! If we our¬ 
selves demand hearty sincerity in the thanks 
which are offered to us for the favors we confer, 
how much more has God a right to require us to 
worship Him “ in spirit and in truth!” 

The “ monarch minstrel ” sang and worshiped 
with seraphic ardor. 

Hear the Psalmist as he exclaims: “ I will praise 
Thee, 0 Lord, with my whole heart.” 


THE SERVICE OF SONG. 


249 


“ I will praise Thee with all my heart.” 

“ Glory ye in His holy name; let the heart of 
them rejoice that seek the Lord.” 

“Serve the Lord with joyfnlness, and with 
gladness of heart.” 

“ O God, my heart is fixed; I will sing and give 
praise even with my glory.” 

“ I will be glad and rejoice in Thee: I will sing 
praise to Thy name, O Thou most high.” 

“Bless the Lord, O my soul, and all that is 
within me, bless His holy name.” 

“ I will sing unto the Lord as long as I live: I 
will sing praises unto my God while I have any 
being.” 

The apostles would also lead us into the experi¬ 
ence of this same glowing love, transporting joy, 
and exultant hope : “ Be filled with the Spirit ”— 
“making melody in your heart to the Lord”— 
“ Let the word of Christ dwell in you richly in all 
wisdom ”—“ singing with grace in your hearts to 
the Lord”—“I will pray with the spirit, and I will 
pray with the understanding also: I will sing with 
the spirit, and I will sing with the understanding 
also.” 

“ Without Me,” says the Savior, “ ye can do 
nothing. If we would pray, “the Spirit of grace 
and supplications ” must be poured out upon us. 
“ The Spirit helpeth our infirmities.” So, if we 
would sing acceptably, this same Holy Spirit must 
excite within us ardent desires and grateful emo 


250 


THE SERVICE OF SONG. 


tions. God will assuredly accept the sacrifice 
which Himself moves us to offer. 

The spirit of the apostles and the primitive 
Christians was a loving, jubilant spirit. Though 
beaten with stripes, stoned, imprisoned, banished 
to dreary solitudes, counted “ the filth and off- 
scouring of all things,” expecting to lay down 
their lives for the truth; yet, forbearing to mur¬ 
mur, they wandered over the world sowing precious 
seed, “rejoicing that they were counted worthy 
to suffer such things,” and, with ecstatic songs, 
antedating their arrival at their Father’s house. 
With them praise was habitual. 

The Apostles gazed steadfastly into heaven as 
long as they could see aught of the radiant cloud- 
chariot which conducted their ascending Lord to 
His home of glory ; and having received the prom¬ 
ise of His second advent, they returned to Jeru¬ 
salem with joy, and “were continually in the 
temple, praising and blessing God.” 

The disciples, after the Pentecostal outpouring 
of the Spirit, “ did eat their meat with gladness 
and singleness of heart, praising God.” 

This same rapturous spirit should characterize 
all Christians in the present day. The Comforter 
has come to abide with believers forever. Vital 
Christianity is shedding its cheering light upon 
the dark places of the.earth. False religions are 
tottering to their fall. Judaism, Romanism, Pa¬ 
ganism, and Mohammedanism,are all dying of in- 


THE SERVICE OF SONG. 251 

lierent weakness and old age; wliile pure religion, 
in youthful vigor, and with gigantic strides, 
marches on to conquest, and by faith sees— 

“ Her flag on every height unfurl’d; 

Her morning drum beat round the world.” 

In this glad day of holy triumph, shall Christian 
zeal abate, or Christian courage fail? Shall a 
deadly paralysis seize the Church just as the 
trumpet-tongued voice of victory is about to startle 
the universe with its echoes ? Surely Emmanuel’s 
hosts will march valiantly forth to the great de¬ 
cisive conflict. This is the day which Abraham 
saw and was glad, and shall not our hearts burn 
within us ? and shall not our songs herald forth 
our irrepressible joy ? With all our sins and sor¬ 
rows, this is a bright and glorious era, and the 
hosannas of believers should be correspondingly 
rapturous. 

In the Methodist Discipline, the question has 
long been asked—“ How shall we guard against 
formality in singing?” And the several items of 
direction quoted in a former chapter from the Disci¬ 
pline, are all given in answer to this important 
question. The Church justly concludes that for¬ 
mality effectually vitiates the service—that while 
the faults in our congregational singing may be 
numerous and grievous, the great fault, and the 
one which embraces all others, is formality. The 
question is now as pertinent, and as worthy of 
consideration, as it ever was. Let us, i. e ., both 


252 


THE SERVICE OF SONG. 


the writer and the reader, ask ourselves—“ How 
may we guard against formality in singing?” 

The following is especially worthy of considera¬ 
tion : “ Do not suffer the* people to sing too 

slow. This naturally tends to formality, and is 
brought in by those who have either very strong 
or very weak voices.” 

Those who have very strong voices are, of course, 
able to overpower the rest of the singers, and to lead 
them at will. It is not unfrequently the case that 
great strength and great indolence meet together 
in the same individual. Persons whose voices are 
very weak are but too prone to lag behind, and 
the effect is to produce coldness, heaviness, dull¬ 
ness. They retard the song, as invalids hanging 
upon the rear of an army impede the progress of 
the advancing hosts. 

Slow singing is sometimes the cause, and some¬ 
times the effect of formality, and obtains in many 
of our churches, to the great detriment of the wor¬ 
shipers. There is in us a natural disposition to 
be at ease—to take our time—and this habitual 
laziness too often pervades and ruins our devo¬ 
tions. 

Here let science be recognized as the handmaid 
of religion. While thoughtless rapidity is to be 
avoided, let us carefully eschew a dozy, drawling 
style of singing. We hesitate not to affirm that 
incalculable advantage would result to the Ameri¬ 
can Churches by the banishment of this pernicious 


THE SERVICE OF SONG. 


253 


custom of tardy singing, and tlie observance of 
tlie time which marks the productions of scientific 
composers. A great reform is needed at this 
point, and blessings will be upon the heads of 
those by whom it is effected. 


254 


THE SERVICE OF SOHO. 


SECTION III—WHAT SHOULD WE SING? 


CHAPTER I. 

SHOULD WE SIHG PSALMS EXCLUSIVELY? 

Presumption in favor of Compositions of Uninspired Poets — View 
of the Seceders — The Title of the Psalms — “ Song of Songs” — 
Ralph Erskine’s View and Conduct — Suitableness of Matter for 
Praise — Testimony of Isaiah — Offering Strange Fjre — 
** Psalms, Hymns and Spiritual Songs” — Example of Simeon, 
Anna the Prophetess, etc. — Early Christians — Common Version 
and Rous’ Compared — General Assembly of the Church of 
Scotland. 

If we are to use words in singing, and if these 
words are made especially influential by the 
sounds to which they are wedded, then the char¬ 
acter of the sentiments expressed becomes a mat¬ 
ter of the utmost importance. Where are we to 
find poetry adapted to the purposes of sacred 
song? What do the Scriptures teach on the sub¬ 
ject? Nearly all the Churches use, in the service 
of praise, those compositions of uninspired poets 
which are thought to be in accord with the 
teachings of the Old and New Testaments. This 
having long been the custom, there is a pre¬ 
sumption in its favor, and it is for those who 



THE SERVICE OF SONG. 255 

entertain tlie contrary view to show that the pre¬ 
vailing practice is unscriptural. 

The Seceders* from the Established Church of 
Scotland and their descendants, the ministers and 
members of the Associate Reform Church, contend 
that, in our devotional singing, we are bound to 
confine ourselves exclusively to a literal version 
of the Book of Psalms ; and, consequently, that 
all those who use the compositions of men are 
guilty of grave error, both in theory and in prac¬ 
tice For the support of this allegation, we cer¬ 
tainly have a right to demand irrefragable Scrip¬ 
tural authority. 

The opposers of the exclusive system gladly 
admit that the Book of Psalms constitutes a part 
of the word of God; that the Psalms were de¬ 
signed to be sung in the Church under the Jewish 
dispensation, and that most of them, when prop¬ 
erly versified, have high claims as sacred lyrics, 
even in the present day. It is glaringly unjust to 
charge the advocates of the liberal view with the 
sin of rejecting the Psalms, or of supplanting 
them by unauthorized human productions. On the 
contrary, the Psalms are highly prized and jeal¬ 
ously guarded as an integral part of the sacred 
canon. The only question in controversy is— 
Should we sing Psalms exclusively ? 

Our Seceder friends argue that the Psalms were 

*We use the term “ Seceder” in this chapter with the utmost respect 
for those who are designated by it. Other Scottish Churches agree with 
them. 


256 


THE SERVICE OF SONG. 


written by inspired men to be sung in tlie Clmrcli; 
tliat they were appointed to be sung by Divine 
authority ; that this appointment has never been 
revoked; that the Head of the Church has never 
authorized the use of any other songs in His wor¬ 
ship, and that the Psalms are, therefore, to be 
sung to the end of time, to the exclusion of all 
other compositions. 

The following is one of the chief passages of 
Scripture adduced in favor of this theory: 
“ Hezekiah the king, and the princes, commanded 
the Levites to sing praise unto the Lord with the 
words of David, and of Asaph the seer.”* This 
' command was given by this pious sovereign when 
he reformed the temple service; and, as has been 
well said, the verse and the chapter prove too much 
for the purpose of the Seceders. In verse twenty- 
fifth, it is said that “Hezekiah set the Levites in 
the house of the Lord with cymbals, with psalter¬ 
ies, and with harps, according to the commandment 
of David, and of Gad the king’s seer, and of 
Nathan the prophet.” If the former quotation 
contains a Divine warrant for the exclusive use 
of the words of David and Asaph in sacred song 
in all ages; then, upon the same principle of in¬ 
terpretation, the latter passage positively enjoins 
the use of instruments of music in all church¬ 
singing to the end of time. In the former case, 
Hezekiah and the princes command the use of the 

4 2 Chronicles xxix. 30. 


THE SERVICE OF SOHO. 


257 


words of David and Asaph, In the latter case, 
both Gad the seer, and Nathan the prophet, 
nnite with David in ordaining the nse of musical 
instruments; so that if there is any difference, 
the obligation to employ o^mbals, psalteries and 
harps, at all times when we sing praises to God, 
is greater than the obligation to restrict our 
singing to the Book of Psalms. The advocates 
of the exclusive doctrine admit that we are not 
required to use instruments of music ; yea, 
they as a general rule, strongly disapprove of 
the introduction of these instruments into the 
Church, although they are called in the Scriptures, 
“ musical instruments of God.” We see, there¬ 
fore, that the chief proof-text upon which they 
rely utterly fails to sustain their position. 

It is obvious that Hezekiah himself did not act 
upon the principle which is so strenuously con¬ 
tended for by these brethren. On his recovery 
from sickness, thirteen years after he had issued 
the order to sing the words of David and Asaph, 
Hezekiah composed a song, or songs, and he de¬ 
clares, “We will sing my songs to the stringed 
instruments, all the days of our life in the house 
of the Lord.” * This conduct of the good king, 
demonstrates the fact that he did not understand 
his own ordinance as it is understood by the 
Seceders. 

Furthermore, the command of Hezekiah to sing 

* Isaiah xxxviii. 20. 

*7 


258 


THE SERVICE OF SONG. 


the words of David and Asaph, even if interpre¬ 
ted according to the exclusive view, fails to estab¬ 
lish the strange position which has been assumed. 
David wrote upward of seventy of the Psalms, 
and to Asaph are ascribed ten or twelve; the 
others are attributed to Moses, Heman, Jeduthun, 
Solomon, and others. It is urged that the 
entire Book, which contains one hundred and 
fifty Psalms, constitutes the true Psalmody of the 
Church. But the decree of Hezekiali only em¬ 
braces those which were written by David and 
Asaph ; and as there are at least sixty in the col¬ 
lection which were not composed by these authors, 
the injunction of the king falls utterly short of 
establishing the hypothesis of the Seceders. 

Our brethren further argue, that the title which 
has been given to the Book in question, indicates 
the correctness of their doctrine: it is called 
Psalms or Songs, and hence, we are to infer that 
it was given to the Church to be her only u Psalm 
Book” through every period of her history. We 
respectfully submit that the premise is too nar¬ 
row to support the conclusion. Even if we were 
to admit that the word Psalms is always to be in¬ 
terpreted Songs, the only proper conclusion would 
be that the Psalms were designed to be sung in 
the Church. It would by no means follow that 
the Psalms are to be perpetually and exclusively 
used. 

But let us inquire more particularly into the 


THE SERVICE OF SONG. 259 

meaning of tlie word Psalms. Does tlie original 
Hebrew word Tehillim , which is translated Psalms, 
invariably or generally, signify Songs ? It does not, 
only as tlie genus includes tlie species. Its proper 
meaning is Praise; lienee, tlie Book of Psalms 
is properly denominated tlie Book of Praises, in¬ 
cluding tlie praise which is rendered in song, and 
praise in various other forms. Therefore, the 
learned have classified the Psalms, as follows : 
Prayers, sixty-six ; Songs of Thanksgiving, twen¬ 
ty-nine ; Songs of Praise and Adoration, thirty; 
Psalms on general topics of instruction, forty; 
ten are prophetical, and three historical. Such 
are the component parts of this Book of 
Praises. The Catechism, used by the Seceders, 
teaches us that “in our prayers we praise God,” 
and it is manifest that He may be praised in all 
the ways indicated in the foregoing classification. 
The particular titles of some of the Psalms, as 
well as their subject-matter, plainly show that 
they are not all songs. The seventeenth is desig¬ 
nated a “Prayer of David,” and the ninetieth 
the “Prayer of Moses.” It is evident from all 
these considerations, and also from the etymology 
of the word, that the Book of Psalms is properly 
the Book of Praises, and not the Book of Songs 
exclusively. 

The fact that it is called the Book of Psalms in 
the New Testament does not militate against this 
view of the subject. The New Testament writers 


260 


THE SERVICE OF SO NO. 


quoted from the Greek Septuagint translation, and 
not from the original Hebrew. In other instances 
besides the one under consideration, they made 
citations from the Septuagint that are obviously not 
in accordance with the original Hebrew, but only 
where the blunders of the Greek translation were 
such as not to weaken the special proofs for which 
the quotations were made. 

But what shall we say of the Song of Solomon ? 
Suppose we admit that the word Psalms means 
Songs only, and that it is thus demonstrated that 
the Book of Psalms is the true and only Psalmody 
of the Church, do we not involve ourselves in inex¬ 
tricable difficulty? The Canticles not only bear the 
general title—Song—but Solomon’s Song is said to 
be The Song of Sohgs, or the most excellent 
of songs! According to this reasoning, we must 
sing the Book of Psalms always and exclusively, 
and we must also especially sing Solomon’s Song, 
always and exclusively ! As a substitute for this 
transparent absurdity, we present the reasonable 
proposition, that wherever matter for praise is 
suggested, whether in the Old or Hew Testament, 
we are fully at liberty to appropriate it; and, as 
the advocate of this view, we quote the eminent 
Ralph Erskine, one of the founders of the Seceder 
Presbytery in Scotland. He says: “When the 
motion was made of turning all the Scripture 
songs into common metre, for the same use with 
the Psalms of David I was also urged to make a 


THE SERVICE OF SONG. 


261 


version of this song,” i. e., the Song of Solomon. 
He farther says in reference to the same Book: 
“ If more seem to be said upon any verse than is 
directly imported in it, I hope it will be reckoned 
no great fault, if what is said be deducible from 
it, or necessary for the further explication of it, 
and for adapting this paraphrase upon an Old 
Testament song to a Hew Testament dispensa¬ 
tion.” Let it, therefore, be borne in mind that this 
distinguished scholar and divine of the Secession 
Church teaches us that we are not bound to con¬ 
fine ourselves, in our songs of praise, to the Book 
of Psalms, and that we are by no means required 
to sing a literal version of any portipn of the 
Scriptures. 

But it may be said that the Song of Solomon 
was never used in the temple worship. That 
being the case, the position that the title, Psalm, 
or Song, imposes no obligation upon us to use the 
Book of Psalms exclusively, is fully established. 

It is urged, too., that the character of the mat¬ 
ter embraced in the Book of Psalms indicates 
that it was designed to be the only Psalm Book 
of the Church. We claim a place in the front 
rank of those who extol the Psalms, yet, we 
would not perpetrate the error of exalting them 
above all other portions of the word of God. 
We have already seen the variety of topics treated 
on in the Psalms: it might reasonably be supposed 
that, in the wide range of subjects, some portions 


262 


THE SERVICE OF SONG. 


of this delightful Book would he less suited to 
purposes of praise than some other portions of the 
Holy Scriptures. 

Compare passages in the sixty-ninth Psalm with 
the sublime Doxologies recorded in the Apostolic 
Epistles. The Psalmist, predicting the wrath which 
awaited the enemies of Christ, says : 

. “ Let their table become a snare before them ; 
and that which should have been for their welfare 
let it become a trap. 

“ Let their eyes be darkened that they see not; 
and make their loins' continually to shake. 

“ Pour out thine indignation upon them, and let 
thy wrathful anger take hold of them. 

“ Let their habitation be desolate, and let none 
dwell in their tents. 

“ . . . . Let them be blotted out of the book of 
the living, and not be written with the righteous.” 

Thus saitli the Apostle: “ How unto the King 
eternal, immortal, invisible, the only wise God, be 
honor and glory forever and ever. Amen.” He 
says again: “ How unto Him that is able to do 
exceeding abundantly above all that we ask or 
think, according to the power that worketh in us, 
unto Him be glory in the Church by Christ Jesus, 
throughout all ages, world without end. Amen.” 

Judge of the merits of that theory which incor¬ 
porates the former verses into the Psalmody of 
the Church of Christ, while it rejects these spirit¬ 
ual and rapturous utterances. 


THE SERVICE OF SONG. 


263 


This mere inference as to superior suitableness, 
even if it were legitimate, could, of course, prove 
nothing. 

Before we abandon our Hymn Books to take up 
Rous’ version of the Psalms, for the reason that 
the version is better adapted to the purposes of 
worship, let us take a specimen from each. We 
quote first from 

THE VERSION. 

The preacher rises in the pulpit and gives out: 

“ I like an owl in desert am 

That nightly there doth moan, 

I watch, and like a sparrow am 
On the house-top alone. 

My bitter en’mies all the day 
Reproaches cast on me; 

And being mad at me, with rage 
Against me sworn they be.” 

Let us now read a part of 

THE HYMN, 

which is only the representative of a class: 

“O for a thousand tongues to sing 
My great Redeemer’s praise ! 

The glories of my God and King, 

The triumphs of 11 is grace! 

“ My gracious Master and my God, 

Assist me to proclaim— 

To spread through all the earth abroad 
The honors of Thy name. 

** Jesus ! the name that charms our fears, 

That bids our sorrows cease; 

’Tis music in the sinner’s ears, 

’Tis life, and health, and peace.” 


264 


THE SERVICE OF SONG. 


We can not consent to ignore the testimony of 
the prophet Isaiah on the subject which we are now 
discussing. The fact that this inspired man plainly 
dissents from the view of our Seceder brethren 
should settle the question. If he had believed as 
they do, he would certainly have used and recom¬ 
mended the Psalms as the only authorized songs 
of praise. But, so far from this, he himself writes 
a song and prophetically enjoins that it shall be 
sung “ in that day,” the glorious gospel day which 
he saw in the distance. He says : 

“ In that day shall this song be sung in the land 
of Judah: we have a strong city: salvation will 
God appoint for walls and bulwarks. Open ye 
the gates that the righteous nation which keepeth 
the truth may enter in. Thou wilt keep him in per¬ 
fect peace whose mind is stayed on Thee, because 
he trusteth in Thee. Trust ye in the Lord forever: 
for in the Lord Jehovah is everlasting strength.” * 

The prophet also gives us another song to be 
used “ in that day.” The theory which we oppose 
utterly forbids the singing of these songs in Divine 
worship. 

But what shall we say as to suitableness of 
matter. It has been said, as a reason why 
we should sing the Psalms only, that they are 
“ full of Christ.” We think w T e can easily prove 
by our Seceder brethren themselves that their 
theory is incorrect. They argue that the Psalms 


Isaiah xxvi. 1-4. 


THE SERVICE OF SONG. 265 ' 

are “ full of Christ;” therefore, they should con¬ 
stitute the only psalmody of the Church. We 
reply that the Book of the prophecy of Isaiah is 
“ full of Christ; ” and, therefore, upon their own 
principle, the Book of Isaiah should constitute 
the only psalmody of the Church. 

We duly appreciate the glowing delineations of 
the coming Messiah which endear the Psalms to 
the pious heart; but we can not admit that David 
and the rest of the Psalm writers had clearer 
views of Christ than were entertained and ex¬ 
pressed by “ the evangelical prophet.” 

We might challenge the friends who differ with us . 
to point to any other portion of the Old Testament 
where the character and work of the Redeemer are 
as explicitly set forth as they are in the prophecy 
of Isaiah. In that sublime book of the Scriptures, 
the great doctrines of salvation are clearly taught. 
Christ is there evidently set forth before us in His 
Divinity and in His humanity; in the lowly cir¬ 
cumstances of His birth and life, and especially 
in His vicarious death. This is the great central 
doctrine in the system of Christianity; and if we 
would exult in the glorious truth that “ by His 
stripes we are healed,” we have only to read and 
appropriate the fifty-third chapter of this gospel 
prophecy. How can we be blamed for rejecting a 
theory which requires us to believe that David 
was more evangelical than Isaiah? 

Again, it is urged that we have no authority 


266 


THE SERVICE OF SONG. 


for making and singing hymns, although they 
be thoroughly Scriptural. Our songs, it is said, 
have already been prepared for us by Divine 
direction, and we have no authority in the premi¬ 
ses further than to prepare and sing a metrical 
and literal version of these psalms. But who 
collected the Psalms into one book by the ap¬ 
pointment of God, for the express purpose of 
giving to the Church in all ages a form of words 
to be used in praise ? This question has never 
been answered, nor can it be. It is supposed that 
the compilation was the work of Ezra; but who 
can positively tell ? And where is the evidence 
that the compiler himself used this book only, in 
the service of praise, and that this exclusive theory 
was to be binding for all time to come \ 

It has been seriously intimated that those who 
sing hymns other than the versified Psalms are 
guilty of the sin of offering strange fire before the 
Lord, and are liable to the punishment which was 
inflicted upon Nadab and Abihu. Surely they 
who thus speak ought to give us a Divine war¬ 
rant for the dogma to which they attach so much 
importance, and the rejection of which is likely, 
in their view, to be attended with fatal con¬ 
sequences. Even the inspired writers did not 
venture, without Divine sanction, to anathematize 
those who differed with them. Our friends who 
so emphatically warn us of our danger have at- 


THE SERVICE OF SONG. 


267 


tempted to give tlieir authority, but with what 
success we have already seen. 

What right, we may ask, have we to pray or 
preach in our own words ? The answer which our 
Seceder brethren would give is, that prayer is a 
Christian duty; that preaching is a Divinely estab¬ 
lished institution; and that, while all our pray¬ 
ing and preaching are to be based upon the Scrip¬ 
tures, we are, nevertheless, at liberty to use such 
fotms of prayer and sermonizing as to us may 
seem best, under the guidance of the Holy Spirit. 
But why may we not adopt this principle in re¬ 
gard to singing, especially, as we have in the 
Bible no required forms of praise? This plea 
having been set aside, there can be no other 
plausible one, unless it be to the effect that we 
must confine ourselves to the Psalms to avoid the 
errors in doctrine which may creep into the hymns 
composed by uninspired men. But how does it 
happen that we are more liable to error in 
singing than in preaching and praying ? Has not 
almost every phase and shade of heterodoxy had 
its apologist and advocate in the pulpit ? And if 
there is a great power in song to make the sen¬ 
timents uttered influential, what are we to say of 
the preaching of the eloquent orator, who, with 
great logical and rhetorical ability, addresses the 
multitude ? 

Is there no danger of heterodoxy in extempora¬ 
neous, or written prayers ?—prayers composed by 


268 


THE SERVICE OF SONG. 


men ? We have the answer in the semi-idolatrons 
petitions to the saints, and the prayers for the dead, 
which are offered up in the Romish Church. If, 
then, to promote orthodoxy, we should refrain 
from composing and singing hymns, we ought, on 
the same principle, to refrain from preaching and 
praying, unless the service he conducted in the 
words of inspiration. 

The course pursued by our anti-hymn singing 
friends does not afford the slightest guarantee 
against error in doctrine. The fact that the 
language of the Psalms is sometimes obscure and 
often typical, renders it necessary, in the judg¬ 
ment of the Associate Reform ministers, to lecture 
on the Psalm before it is sung, whenever circum¬ 
stances are favorable for exposition. The explan¬ 
ation given is, of course, received and borne in 
mind during the singing. Now, what security 
have we against false doctrine in the lecture, 
and, consequently, in the understanding which 
pervades the singing? Our Hymn Books are 
generally compiled by our ablest and best men, 
and are adopted by the highest ecclesiastical au¬ 
thority. This, it would seem, would be as 
effectual a safeguard against error as the most 
zealous defender of the faith could demand. The 
explications given of the Psalms, from time to 
time, before singing, are, from the very nature of 
the case, much more likely to propagate heresy 
than the hymns used in the Churches. If we 




THE SERVICE OF SOHG. 269 

wanted to foster Judaism, that deadly error which 
the apostles combated with so great zeal and suc¬ 
cess, we might reasonably suppose that the use 
of an exclusively Jewish psalmody would tend to 
such a result. We plead the Arianism of the 
Seceders of Ulster, as a significant illustration of 
the fact that Psalm singing affords no security 
against the embracement and advocacy of un- 
scriptural doctrines. 

But we have not space to reply to the minor ob¬ 
jections which have been urged against the cus¬ 
tom of liymn-singing; nor is it necessary to assail 
the pigmies after having grappled with the giants. 

We confidently abide at our stand-point, and 
claim a complete vindication, on the ground that 
no valid objection can be urged against the com¬ 
posing and singing of hymns embodying the 
doctrines of Christianity, this practice of the 
Churches being eminently Scriptural. 

The positive evidence that our hymns may 
be founded upon any portion of God’s word, 
and especially upon the New Testament, is 
abundant. It is said, “ Let the word of Christ 
dwell in you richly in all wisdom; teaching and 
admonishing one another in psalms, hymns, and 
spiritual songs, singing with grace in your hearts 
to the Lord.”* 

No language could possibly set this whole sub¬ 
ject in a clearer light than is shed upon it by 


Col. iii. 16 . 


270 


THE SERVICE OF SOHO. 


these words of the Apostle. It is surprising to 
see that the abortive attempt has been made to 
evade its force by showing that the Apostle meant 
only the Psalms, when he says : “Psalms, hymns 
and spiritual songs.” The idea is that in the 
Book of Psalms, there are “psalms, hymns, and 
spiritual songs,” the peculiar characteristics of 
each being slightly different. As it regards the 
philological argument, it is enough for us to say 
without going into details, that the Seceder inter¬ 
pretation represents the Apostle as directing us to 
.sing psalms, psalms, and psalms! or to make the 
best of it, psalms, and psalms, and spiritual songs. 
He who can receive such an interpretation, let him 
receive it. We confess that we are curious to 
know how the friends who differ from us ever 
arrived at the certain knowledge that the Apostle 
meant only the psalms, hymns, and spiritual 
songs contained in the Book of Psalms, to the 
exclusion of all other inspired songs, as well 
as the songs and hymns of human composition. 

If St. Paul meant simply the Psalms, it is mar¬ 
velous that he should have commenced by exhort¬ 
ing the Colossians thus : “ Let the word of Christ 
dwell in you richly.” Can we suppose that the 
phrase, “word of Christ,” was the most apt ex¬ 
pression which the Apostle could use to designate 
the Psalms of David? By “ the word of Christ,” 
he must have meant the teachings of Christ and 
the evangelists and apostles—the doctrines of 


THE SERVICE OF SONG. 


271 


salvation as revealed faintly in tlie Old Testament, 
and vividly in the New. It is incredible that the 
Apostle intended to enjoin it upon ns to have the 
mind fixed upon the New Testament teachings— 
to have the word of Christ dwelling in our hearts 
richly—while at the same time we were forbidden 
to sing the words of Christ, and required to go 
back to the days and writings of David for words 
to be used in song. Let it not be forgotten that 
he puts in the word “spiritual”—“spiritual 
songs ”—as it would seem, for the express purpose 
of guarding us against the error into which, as we 
conceive, our anti-hymn brethren have fallen. If 
we adopt their view, we must bravely surmount 
all difficulties, and reach the conclusion that the 
Apostle used all the words contained in the verse 
under examination simply to teach us that it is 
our duty to sing the Psalms exclusively. We 
prefer to take the passage in its plain and obvious 
meaning. According to the acknowledged rules 
of interpretation, it triumphantly sustains the 
theory and practice of nearly all the denomina¬ 
tions of Christians in the world. 

We are directed to teach and admonish one 
another in psalms, hymns, and spiritual songs. 
But what are we to teach? Of course, the lessons 
embraced in our songs must be taken from the 
Scriptures. But, from what part? From the 
Book of Psalms alone ? The Apostle gives us a 
satisfactory answer. It is as follows: “ All 


272 


THE SERVICE OF SONG: 


Scripture is given by inspiration of G-od, and' is 
profitable for doctrine, for reproof, for correction, 
for instruction in righteousness.”* These two 
passages taken together give us a clear view of 
the subject. This last one can not be understood 
as referring to the Old Testament alone. Most 
of the New Testament was extant at the time the 
Apostle wrote this Epistle to Timothy, and even 
those Books of the sacred canon which were not 
then written were evidently included prospectively 
in the term—“ All Scripture.” 

In singing spiritual songs apart from the 
Psalms, we are only following the example of 
good old Simeon, Anna the prophetess, Mary the 
mother of Jesus, and, doubtless, all the primitive 
Christians. Yea, our course is vindicated by the 
example of those whom St. John saw “in the 
midst of the throne.” They sang a new song—a 
song that recognized and adored Christ as already 
come, and as having finished His work and entered 
into His glory. They cried—“ Worthy is the Lamb 
that was slain ”f Shall we refuse to sing this 
song which is sung by “ every creature in heaven ?” 
This refusal is demanded by the system of psalm¬ 
ody which we oppose. 

The early Christians, no doubt, sang the Old * 
Testament Psalms, together with hymns and 
spiritual songs suggested by the Scriptures of the 
New Testament. Basil of the fourth century cites 

* II Timothy iii. 16. 


t Rev. vi. 12. 



THE SEKVICE OF SONG. 


273 


a hymn which was then said to be very ancient. 
It is translated by Dr. Pye Smith, as follows: 
“Jesus Christ—-joyful light of the Holy! Glory 
of the eternal, heavenly, holy, blessed Father! 
Having now come to the setting of the sun—be¬ 
holding the evening light, we praise the Father, 
and the §on, and the Holy Spirit of God. Thou 
art worthy to be praised of sacred voices, at all 
seasons, O Son of God, Who givest life. Where¬ 
fore the universe glorifieth Thee!” 

There are other hymns extant equally ancient. 
It was of such hymns that Clemens of Alexandria, 
about A. D. 175, wrote as follows: “ Gather to¬ 
gether the children to praise the Leader of chil¬ 
dren, the eternal Logos , the eternal Light, the 
Fountain of mercy. Filled with the dew of the 
Spirit, let us sing sincere praises, genuine hymns 
to Christ our King.” 

At a later period, it is said of the martyr 
Jerome that “ as he went to execution he sang 
the Apostles’ creed and the hymns of the Church, 
with a loud, voice and a cheerful countenance. 
He kneeled at the stake and prayed. Being then 
bound, he raised his voice and sang a paschal 
hymn, then much in vogue in the Church: 

M ‘Hall! happy day, and ever be adored, 

When hell was conquered by great heaven’s Lord.’” 

The younger Pliny, who lived in the beginning 
of the second century, having inquired into the 

assemblies of the Christians in order to give an 
18 


274 


THE SERVICE OF SONG. 


account of them to the Emperor Trajan, informs 
him that lie could learn nothing of their sacra¬ 
ments, but that they assembled in the morning be¬ 
fore daylight to sing a hymn to Christ, as to a god. 

“The ‘psalms, hymns, and spiritual songs’ of 
the Apostolic Churches, were an outgushing of 
the new spirit of Christianity, which does not 
seem to have restricted itself to the ancient songs 
of the temple, or of the synagogue. Even the 
miraculous endowments of the first Christian age 
appear to have manifested one class of their phe¬ 
nomena in the inspired improvisation of Psalms. 
The earliest Christian historians agree in affirm¬ 
ing, that the Christian communities of their times 
employed in Divine worship, not only the Psalms 
and other metrical passages of the Old Testament, 
but also hymns, original to the age, and which 
the religious character of the times demanded for 
its own expression. Tertullian states, that each 
participant in the ancient agapce, was invited at 
the close of the feast to sing as he might prefer, 
‘ either from the Holy Scriptures, or from the dic¬ 
tates of his own spirit, a song of adoration to 
God.’ ” 

Hymns and spiritual songs, as well as the 
Psalms, were sung by the Waldenses, and other 
Christian communities, during the eclipse of faith 
which marked the medieval ages. We have seen 
with what spirit and success hymns were com¬ 
posed and sung by Luther and others during the 


THE SERVICE OF SONG. 


275 


great Reformation. Passing over a number of 
authors, we come down to the days of Isaac Watts, 
who was succeeded in the great work of hymn¬ 
writing by Charles Wesley. 

We review the history of the liynm-singing 
Churches of the present day with grateful emo¬ 
tions. Our Heavenly Father does not treat us as 
if we were guilty of daring presumption ; but, by 
causing His face to shine upon us, He is continu¬ 
ally increasing our weight of obligation to Him, 
and is, as it were, calling upon us to sing unto 
Him “a new song.” 

We propose, now, to inquire more particularly 
into the practice of the Seceders. Do they act on 
their own principle ? That principle is thus enun¬ 
ciated: “A correct and faithful version of the 
whole Book of Psalms should be exclusively em¬ 
ployed in the psalmody of the Church to the end 
of time.” Rous’ version is regarded as being 
“ correct and faithful.” A champion in the cause 
of exclusive Psalmody tells us that this ver¬ 
sion “ was adopted upon the principle that it is a 
faithful translation of the original text.” Again, 
he says, that “this version is not an explanation, 
but a translation of the Psalms.” It and the 
prose translation “are both to be regarded as the 
word of God.” 

Hence, the anti-Seceders are charged with the 
sin of “rejecting the Psalm-Book which God has 
given, and preferring their own effusions.” They 


276 


THE SEEVICE OF SONG-. 


are solemnly warned that the coarse which they 
are pursuing “ involves an impious rejection of the 
Psalms which God has given to liis Church, as 
unfit to be sung, and the substitution of hymns 
of man’s composure.” The position is, therefore, 
strenuously advocated, that we have no authority 
for singing anything but the pure word of God, 
as contained in the Book of Psalms“the in¬ 
spired Psalm-Book ; ” “ a correct and faithful 
translation;” “a literal translation.” To sing 
anything else is to expose ourselves to condemna¬ 
tion for rejecting “God’s Psalter.” Let us judge 
of the Psalmody of these brethren by their own 
standard. It is easy to see that Rous has made 
many and large additions to the inspired word 
We turn to the one hundred and second Psalm. 


PROSE TRANSLATION. 

I am like a pelican in the wil¬ 
derness. 

I am like an owl of the desert. 

Because of Thy indignation and 
Thy wrath. 


ROUS’ VERSION. 

Like a pelican in the»wilderness, 
Forsaken I have been. 

I like an owl in desert am, 

That nightly there dcth moan. 
Thy wrath and indignation 

Did, cause this grief and pain. 


It will be seen that, in Rous’ version, at least 
one-half is “ mere human composition.” 

Let us examine the one hundred and fifth psalm. 


PROSE TRANSLATION. 

Seek the Lord and His strength, 
seek His face evermore. 


ROUS’' VERSION. 

The Lord Almighty , and His 
strength, 

With steadfast hearts seek ye: 
His blessed and His gracious face , 
Seek ye continually. 




THE SERVICE OF SOHO. 


277 


Here, again, we see that fully one-lialf of the 
psalm is made up by the words of Rous, and not 
the words of inspiration. Many other examples 
might be given to the same effect. 

Sometimes we find much of the metrical version 
composed of mere repetitions of the inspired sen¬ 
timent, the “human composition” constituting 
most of the psalm. 

An instance of this is found in the eighty-fourth 
Psalm. 


PROSE TRANSLATION. 

How amiable are Thy taber¬ 
nacles, O Lord of hosts. 


ROUS’ VERSION. 

How lovely is Thy dwelling place, 
O Lord oLhosts. to me; 

The tabernacles of Thy grace , 
How pleasant , Lord, they be. 


Many scores of these human explanations are 
Rous’ additional thoughts, employed to fill up 
the stanza and make metre. Thus 


TROSE TRANSLATION. 

Be thankful unto Him and bless 
His name. 

PROSE TRANSLATION. 

I thought on my ways. 

I delayed not. 


ROUS’ VERSION. 

Praise, laud and bless His name 
always; 

For it is seemly so to do. 

ROUS’ VERSION. 

I thought upon my former ways, 

A nd did my life well try. 

I did not stay, nor linger long , 

As those that slothful are. 


It is a surprising fact that those who are so 
afraid of the work and words of man, have incor¬ 
porated in their psalmody enough of this sort of 
human composition to make seven psalms of the 





278 


THE SERVICE OF SONG. 


size of Psalm First, or twenty-four of the size of 
the one hundred and seventeenth. 

In addition to these larger interpolations, the 
Rev. Wm. Annan, to whom we are mainly indebted 
for these examples, has marked more than three 
hundred smaller additions to the sacred text. 

Rous has also, on the principle adopted by his 
advocates, frequently made an unwarranted use 
of the great and holy Name. The following is 
an instance: 

The spearmen’s host, the multitude 
Of bulls, xvhick fiercely look ; 

Those calves which people have forth sent, 

O Lord our God , rebuke, 

Till every one submit himself 
And silver pieces bring. 

The people that delight in war 
Disperse, O God and King. 

Is that a “ literal version” which so often intro¬ 
duces the names ascribed to the Deity where there 
is nothing to answer to these words in the original? 

Again, “ many scores of adjectives, and similar 
qualifying terms, are thrown in, and put where 
the Holy Spirit never put them; . . . . these are 
examples of mere poetical license—mere patch- 
work—human inventions to save the credit of the 
stanza, lest it should appear 4 like the legs of the 
lame.’ ” 

The admirers of Rous’ version contend for the 
exact words of Scripture. They attach much 
blame to Dr. Watts for, in some instances, cliang- 


THE SEEVICE OF SONG. 


279 


ing “ God’s order of thought, which is, doubtless, 
the best for His Church.” But how is it in their 
received version? A few specimens must suffice: 


PROSE TRANSLATION. 

Hide Thy face from my sins and 
blot out all my iniquities. 

In God have I put my trust; I 
will not fear what man can do unto 
me. 


ROUS’ VERSION. 

All my iniquities blot out, 

Thy face hide from my sins. 

I will not fear what flesh can do, 
My trust is in the Lord. 


If Dr. Watts is reprehensible, how will his ac¬ 
cusers stand acquitted in the face of the forty or 
fifty inversions of “ God’s order of thought ” which 
they endorse ? 

Our friends have also omitted certain portions 
of the inspired Psalms. The twentieth verse of 
the seventy-second Psalm has no place in Rous’ 
version. It reads thus: “ The prayers of David the 
son of Jesse are ended.” They have also left out 
most of the titles of the Psalms which are often 
found so valuable in interpreting the meaning of 
the writers. Dr. Alexander and T. Hartwell Horne, 
together with other learned commentators, concur 
in the opinion that all the titles which are extant are 
of undoubted canonical authority. Of these there 
are one hundred and twenty-five, only ten of which 
are in Rous’ version. It appears, therefore, that 
one hundred and fifteen inspired titles containing 
matter enough to make fifteen psalms of the size 
of Psalm First, have been rejected by those who 
stickle for the Psalms entire as the only Psalm- 
Book. They have acknowledged the validity of 





280 


THE SERVICE OF SONG. 


these titles by versifying and singing ten of them 
which, as it regards evidence of inspiration, occupy 
precisely the same position as the remaining one 
hundred and fifteen. Might we not as well reject 
the titles to the Apostolic Epistles ? Who would 
have thought that those who have left out of their 
version a considerable portion of the Book of 
Psalms are the very persons who charge the hymn¬ 
singing public with “ laying aside the Psalms as 
useless?” 

This brief examination makes it perfectly mani¬ 
fest that Rous’ version is not a literal transla¬ 
tion of the Psalms. On the authority of the 
General Assembly of the Church of Scotland, we 
pronounce it to be only a paraphrase. In their 
acts, from the year 1644, to the year 1650, “ they 
uniformly call Rous, not a version (or translation), 
but only a ‘ paraphrase.’ In these official decrees 
we find such phraseology as, ‘ paraphrase of the 
Psalms,’ ‘ new paraphrase,’ 4 our own paraphrase, 
etc., and, finally, approving and ordaining said 
paraphrase.’” Why not, then, sing the para¬ 
phrases of Wesley and Watts, which are often as 
literal as those of Rous ? 

In conclusion upon this point, we may be allowed 
to decline accepting the principle urged for our 
adoption by our Seceder brethren, inasmuch as 
they themselves repudiate it! They argue that 
the Psalms entire, and the Psalms only, must be 
sung in Divine worship, and yet they add to the 


THE SERVICE OF SOHO. 281 

Psalms enough of “human composition ” to make 
fourteen psalms equal to Psalm First; and they 
reject enough of the inspired text of the Psalms 
to make fifteen psalms equal to Psalm First. It 
has been truthfully said that Rous’ version bears 
the same relation to a correct translation of the 
Book of Psalms that a piece of silk with five hun¬ 
dred patches of cotton cloth bears to a whole piece 
of silk. The investigation of this much contro¬ 
verted subject only confirms us in the belief that 
the Churches are at liberty to adopt as their 
psalmody such “psalms, hymns, and spiritual 
songs ” as* are consonant with the Scriptures of 
the Old and New Testament. 




282 


THE SERVICE OF SONG. 


CHAPTER II. 

UNINSPIRED SACRED LYRICS. 

Watts and Wesley — Opinion of John Wesley — Dr. Abel Stevens* 
estimate of Charles Wesley — Hymns on Holiness — Life-long 
Devotion of the Wesleys to Sacred Song — Reservoirs of Sacred 
Poetry—Review of Songs for the Sanctuary—Merits of the 
Hymn-book of M. E. Church, South—Singing Hymns of Praise 
— Hymns and Songs too little Read and Studied — Brief 
Sketches of Hymn Writers—Great Volume of Sacred Song not 
yet Complete. 

We liave reason to be thankful that in almost 
every age of the Christian Church, God has raised 
up men eminently qualified to write songs for the 
Sanctuary. Many of these sacred lyrics, as we 
have seen, expressed the spiritual life of the 
Church in the early morning of her history; others 
are cherished as the last earthly hallelujahs of the 
martyrs ; and others still there are which will 
long be recognized as the battle shouts of the 
Reformation. But of all the uninspired compos¬ 
ers of holy song, Watts and Wesley, by general 
consent, stand pre-eminent. Watts has left us 
many versions and imitations of Psalms and parts 
of Psalms, besides many very excellent and popu¬ 
lar hymns. Many of these are remarkable for 
elegance and force of diction; for beauty and 


THE SERVICE OF SONG. 


283 


grandeur of conception, and for tlie pious spirit 
by which, they are pervaded. 

Charles Wesley’s life was a continuous out burst 
of sacred song. A recent discovery has added 
much to his well-merited fame as a Christian poet: 
we allude to a free and admirable version of about 
one hundred and twenty of the Psalms in manu¬ 
script. This valuable production was evidently, at 
one time, tlieproperty of Lady Huntingdon, but was 
afterward buried in the archives of a college, from 
whence it was disinterred and sold a few years ago. 
It providentially fell into the hands of Mr. Henry 
Fish, and now constitutes the principal part of 
the Wesleyan Psalter , a most delightful volume, 
recently issued from a Methodist Publishing 
House in America. In the Introductory Essay 
by Mr. Fish, it is said that ‘Though Charles Wes¬ 
ley has not always confined himself to the letter 
of the Psalms which he versified, yet in every case, 
he has embodied the spirit, and in many of them, 
he has kept close to the sense of the original.” 
Mr. Fish says again: “He (Charles Wesley) has 
sung in his own style—a style characterized by 
smooothness, and harmony, and pathos, and 
power, and beauty, and occasionally by sublimity 
and grandeur. There is nothing in the form of 
poetry, within the compass of uninspired lan¬ 
guage, to surpass in composition many of the 
Psalms in this volume.” 

The “bard of Methodism” was a wonderfully 


284 


THE SERVICE OF SONG. 


voluminous writer. Albout four thousand six hun¬ 
dred of his hymns have been printed, and about 
two thousand still remain in manuscript. An 
irrepressible fervor of soul—a deep, vivid, and 
abiding religious experience—is the distinguish¬ 
ing characteristic of his immortal lyrics, which 
embody the great revival spirit which burned so 
intensely in the hearts of the Wesleyan Reformers. 

This crowning excellency in hymn-composition 
has, doubtless, tended to detract from the renown 
of Charles Wesley. The world’s heart is natural¬ 
ly cold; the world’s mind is captivated by every 
other species of beauty sooner than by the beau¬ 
ties of holiness. The common intellect and the 
common heart are ever ready to stand off at a 
distance and admire the attributes of the Deity, 
or the love displayed in the Atonement; but when 
they are urged to draw nigh to God—when they 
are entreated to let “the King of Glory come in,” 
they shrink from the contact, and seek more 
congenial associations. Even those who bear 
the name of Christ but too frequently lag so 
far behind in their heavenward journey, as 
almost to lose sight of the Savior. Hence, that 
which is of a general or abstract character, is 
more likely to elicit applause from the multitude 
than that which makes a direct appeal to each 
individual, bringing light and fire into the mind 
and heart. In the long roll of eminent hymn- 
writers, many honored names are to be found 


THE SERVICE OF SONG. 285 

identified with, the joyful verities of Christian ex¬ 
perience ; hut peerless amongst these stands the 
name of Charles Wesley—a name that will grow 
dearer to the heart of the Church as ages roll 
away. Just as the great community of believers 
advance in true holiness, in the same ratio will 
the fame of the “sweet singer” of modern times be 
enhanced. 

James Montgomery, himself a world-renowned 
poet, thus speaks of Charles Wesley: “Christian 
experience, from the deeps of affliction, through 
all the gradations of doubt, fear, desire, faith, 
hope, expectation, to the transports of perfect love, 
in the very beams of the beatific vision; Chris¬ 
tian experience furnishes him with everlasting and 
inexhaustible themes; and it must be confessed 
that he has celebrated them with an affluence of 
diction, and a splendor of coloring, rarely sur¬ 
passed. At the same time he has invested them 
with a power of truth, and endeared them both to 
the imagination and the affections, with a pathos 
which makes feeling conviction, and leaves the 
understanding little to do but to acquiesce in the 
decisions of the heart.” 

Charles Wesley’s Arminianism has also been 
truthfully regarded as another draw back upon his 
reputation as a sacred poet; but this objection 
will ultimately pass away. The violent contro¬ 
versy on the “five points,” which so long agi¬ 
tated the Churches, has, in a measure, subsided. 



286 


THE SERVICE OF SONG. 


It will, of course, break out occasionally in differ¬ 
ent localities, but a pacific spirit will, we think, 
hereafter pervade the Church, as a whole. In fact, 
present indications are hopefully prophetic. It 
has already been discovered that the poet of 
Methodism wrote, not as an ecclesiastical partisan, 
but as an earnest Christian. The great founda¬ 
tion doctrines of salvation which are breathed 
forth in his hymns, are preached from Sabbath to 
Sabbath in all the orthodox pulpits in the land; 
and his soul-stirring lyrics have been found to ac¬ 
cord so well with the Scriptures, that they are 
now used in other than Methodist Churches, much 
more extensively than ever before. Again, we 
predict for Charles Wesley a still more radiant 
future than was promised him in the early dawn 
of his fame. As that ardent, loving spirit which 
absorbed his soul, advances to the mastery of 
cold and inveterate prejudice, so will the proper 
appreciation of the substantial merit of his hymns 
be promoted. 

Much has been said as to the relative claims of 
Wesley and Watts. The present writer freely ad¬ 
mits that he comes to the investigation with pre¬ 
dilections in favor of Wesley. Perhaps the Chris¬ 
tian world is not yet ready to unhesitatingly award 
the palm of superiority to either of them; nor 
is it a matter of very special importance. Still, 
the too prevalent disposition to slight the claims 
of Wesley, evinced in many of the works on 


THE SERVICE OF SONG. 287 

Hymnology which have appeared since his death, 
makes us desirous to place him and his writings 
in their true light. We give the following from 
the pen of the Rev. Richard Watson, one of the 
ablest of writers. It is proper, however, to remark 
that the version of Psalms to which we have 
alluded had not come to light when Mr. Watson 
wrote. That production would certainly have in¬ 
tensified his appreciation of the poetical abilities 
of Charles Wesley. Mr. Watson says : “Watts 
excels Mr. Charles Wesley only in the sweeter flow 
of his numbers, and in the feeling and sympathy 
of those hymns which are designed to administer 
comfort to the afflicted. In composition, he was 
in all respects, decidedly his (Wesley’s) inferior, 
in good taste, classic elegance, uniformity, correct 
rhyming, and vigor. As to the theology of their 
respective hymns, leaving particular doctrines out 
of the question, the great truths of religious ex¬ 
perience are also far more clearly and forcibly 
embodied by Mr. Charles Wesley than by Dr. 
Watts.” 

Mr. Watson also heartily endorsed the opinion 
of John Wesley in regard to the hymns of Charles 
Wesley then in use. John Wesley says: “In 
these hymns there is no doggerel, no botches, 
nothing put in to patch up the rhyme, no feeble 
expletives. Here is nothing turgid or bombastic 
on the one hand, or low and creeping on the other. 
Here are no cant expressions, no words without 


288 


THE SEKVICE OF SONG. 


meaning. Here are (allow me to say) both the pur¬ 
ity, the strength, and the elegance of the English 
language; and, at the same time, the utmost sim¬ 
plicity and plainness, suited to every capacity.” 

One of the latest historians of Methodism,* an 
accomplished writer and critic, remarks as fol¬ 
lows: “The whole soul of Charles Wesley was- 
imbued with poetic genius. His thoughts seemed 
to bask and revel in rhythm. The varieties of his 
metres (said to be unequaled by any English 
writer whatever,) shows how impulsive were his 
poetic emotions, and how wonderful his facility 
in their spontaneous utterance. In the Wesleyan 
Hymn Book alone, they amount to at least twenty- 
six, and others are found in his other productions. 
They march, at times, like lengthened processions 
with solemn grandeur; they sweep at other times 
like chariots of fire through the heavens ; they are 
broken like the sobs of grief at the grave-side; 
play like the joyful affections of childhood at the 
hearth, or shout like victors in the fray of the 
battle-field. Ho man ever surpassed Charles 
Wesley in the harmonies of language. To him 
it was a diapason.” Mr. Stevens adds : “ More 
than a quarter of a century since, the Methodist 
hymns were sold at the rate of sixty thousand 
volumes annually in England; they have been 
issued at an immensely larger rate in America. 
Their triumphant melodies swell farther and far- 

*Abel Stevens, LL.D. 


TIIE SERVICE OF SONG. 


289 


flier over the world every } 7 ear, and their influence, 
moral and intellectual, is beyond all calculation.” 

In this connection, we ought not to ignore the 
fact that, as it regards hymns on holiness, Charles 
Wesley confessedly stands “ alone in his glory.”. 

In the Hymn-Books of the various Methodist 
Churches there are a number of excellent hymns 
on this subject. Of these, a few are translations 
from the German and French, by John Wesley, 
the residue are from the pen of Charles Wesley, 
an enduring monument, no less of his genius than 
of his piety. In these, soul-thrilling lyrics, his 
heart evidently guided his pen. 

As corroborative of a previous remark, we may 
state, that some of these hymns on holiness are 
freely used in Divine worship outside of the pale 
of Methodism. We make especial mention of the 
one commencing— 

“ O for a heart to praise my God, 

A heart from sin set free! 

A heart that always feels Thy blood, 

So freely spilt for me!” 

It has at last been ascertained that the Wesleys 
were not enthusiasts ; that they did not teach the 
doctrine of absolute, angelic, or Adamic perfection; 
but that they advocated in admirable prose, and 
in inimitable poetry, the great Christian truth that 
we are required to love God with all the heart, and 
our neighbor as ourselves. The world has as yet 
found no page in Charles Wesley’s poetry which 
is extravagant or unscriptural. 

*9 




290 


THE SERVICE OF SOHO. 


The devotion of the Wesleys to sacred song was 
ardent and life-long. They published their first 
Collection of Hymns in 1738, and their last Col¬ 
lection in 1788; and during the intervening half 
century, they issued upward of forty lyrical pub¬ 
lications suited to private, social, and public wor¬ 
ship—to adults and to children—and to every 
grade of religious experience from the first striv¬ 
ings of the Spirit, to the close of the believers 
final conflict with sin and death, and his victorious 
entrance upon the incorruptible inheritance. To 
the delightful and invigorating exercise of praise, 
they devoted the freshness of youth, the strength 
of manhood, and the waning energies of old age. 
And now, having reached the Eternal City of 
Song, they lift up their voices sweetly, loudly, and 
perpetually in praise to the Giver of “ every good 
and perfect gift.” 

The reservoirs of sacred poetry are numerous and 
inexhaustible. There are extant about seventy 
metrical versions of the entire Book of Psalms; 
and of partial versions, ranging from one to more 
than one hundred Psalms, there are, in the English 
language alone, about one hundred and forty. 
Besides the Psalms, a large portion of the Holy 
Scriptures was written in poetic style, and furnishes 
fit themes for praise. We must also remember 
that, of uninspired sacred poets, the two great com¬ 
posers of whom we have made special mention are 
only the chiefs; the hymn-books of the Churches 


THE SERVICE OF SONG. 


291 


have been enriched with many very valuable con¬ 
tributions from other writers ; nor is the Church of 
God dependent for her songs upon the dead and 
those now living. Should her sublunary history 
be prolonged, worthy successors of those sacred 
poets who have already written their names upon 
the roll of immortality, will be raised up to cele¬ 
brate the great doctrines and facts, and especially 
the later and more triumphant achievements of 
Christianity. 

Critical notices of all the collections of psalms, 
hymns, and songs now used by the Churches 
would require several volumes; we must, there¬ 
fore, leave the perusal of these sacred lyrics to the 
intelligent reader. We are unwilling, however, to 
close this chapter without again indicating how 
ample and excellent is the supply in this depart¬ 
ment. 

There is upon our table a well-printed and sub¬ 
stantially bound octavo volume of 503 pages, pub¬ 
lished in the city of New York, entitled, “ Songs 
for the Sanctuary.” It is a hymn and tune book 
now used in many Presbyterian Churches, in Bap¬ 
tist and Congregational Churches, and, to some 
extent, by other denominations of Christians. The 
work was compiled, nine or ten years ago, by the 
Rev. Charles S. Robinson, D. D., now Pastor of 
Memorial (Presbyterian) Church, in New York 
City. 

In the year 1872, a new edition was brought out, 


292 


THE SERVICE OF SONG. 


every page being made fresli and attractive by 
entirely new electrotype plates. This book of 
Songs for the Sanctuary has now reached a circu¬ 
lation of 275,000 copies. 

In its present form, it contains 1,348 hymns, 53 
selections of psalms and other pieces for chanting, 
and 27 doxologies; in all 1,424, besides an Ap¬ 
pendix of gongs and tunes, Indexes, and a list of 
authors of hymns. About two-thirds of the hymns 
are set to music; for the residue, it is expected 
that those who lead in the music will exercise their 
judgment in the selection of tunes. 

The table of contents exhibits the following ar¬ 
rangement of subjects, viz.: Public worship ; the 
Scriptures; God—being and attributes ; Jesus 
Christ—advent, life and character, sufferings and 
death, resurrection and ascension, adoration; the 
Holy Spirit; the Way of Salvation—lost state of 
man, atonement and pardon, invitations of the 
Gospel, repentance and reception of Christ; the 
Christian—conflict with sin—encouragements, love 
for the Saviour, graces, fellowship, prayer, priv¬ 
ileges, duties, afflictions ; the Church ; Death ; 
Judgment; Heaven; Miscellaneous. With several 
hymns on each division in this wide range of 
topics, suitable words for song may always be 
found. 

As to the character of the hymns, the extensive 
circulation of the book is a very significant indi¬ 
cation of the wisdom of the author’s selections. 


THE SERVICE OF SONG. 


293 


There seems to be a due admixture of old and new 
pieces, and it has been the aim of the compiler to 
give the best commonly received version of the 
hymns, so that the singer’s attention may not be 
diverted from the sense by words to which he is 
unaccustomed. 

As illustrative of the devotion of eminent poets 
to sacred song, we may remark that the selections 
in the work before us are taken from the writings 
of 271 authors. There are, by Watts 201, C. 
Wesley 77, Montgomery 63, Anne Steele 46, Dodd¬ 
ridge 45, John Newton 37, J. Hastings 27, Kelly 
24, and 904 by 263 other authors. 

From the foregoing it is easy to see who, in the 
compiler’s judgment, are the great composers. 
Watts and Wesley stand at the head of the list, 
the former being regarded as pre-eminent. 

To accommodate all, there is the “ Psalter 
Edition,” the “ Chapel Edition,” the edition with 
hymns without the music, and the “ Quartet and 
Chorus Choir.” 

We may add that this volume of Songs for the 
Sanctuary was received into public favor without 
any official endorsement whatever, and will, we 
are persuaded, tend greatly to the consummation 
of the compiler’s expressed desire, that all the 
people should “take unrestrained part in this por¬ 
tion of Divine worship.” 

We are now prepared to consider the merits 
of the Hymn-Book of the Methodist Episcopal 


» 294 


THE SERVICE OF SONG. 


Church, South, published at Nashville, Tenn. 
The following historical facts * may not be un¬ 
interesting: John Wesley was justly considered 
by the fathers of Methodism, a master of meth¬ 
od, as well as an excellent judge of what was 
desirable and necessary for the edification of the 
Church. When, therefore, they wanted a hymn- 
book for the American Church, they prepared one 
upon the model of Mr. Wesley’s large hymn-book, 
first published in the year 1779. The one thus 
prepared being too small, a second part w r as added, 
drawn up substantially upon the same model as 
the former. This double book was found inconve¬ 
nient, and was, moreover, still essentially defec¬ 
tive. The old book, that is, the one which pre¬ 
ceded the Hymn-Book now in use by the M. E. 
Church, South, was then prepared; and, as if the 
compilers were afraid of innovation, the same gen¬ 
eral plan was adopted; and the defectiveness of 
this book being felt, in the year 1836, a supple¬ 
ment was added. Most of the hymns in this sup¬ 
plement were taken from the supplement of the 
British book ; but, unfortunately, the plan of that 
supplement, and scores of its most desirable 
hymns, were not adopted. 

In the year 1847, the old book spoken of 
was superseded by the new one. The first Gen¬ 
eral Conference of this Church, held in the city 

* Taken chiefly from an article in the Quar. Review of the M. E. 
Church, South. 


THE SEBVICE OF SONG. 


295 


of Petersburg, Virginia, in the year 1846, ap¬ 
pointed a committee consisting of the Rev. 
Thomas O. Summers, D. D., the Rev. W. M. 
Wiglitman, D. D., the Rev. Whitefoord Smith, 
D. D., the Rev. J. Hamilton, D. D., and the Rev. 
A. B. Longstreet, D. D., to compile a hymn-book 
de novo. A year’s patient labor, the first named 
being chief in the work, resulted in the production 
of a book which has proved to be entirely satis¬ 
factory to the Church, and is the more highly 
prized the more it is used. 

1. The excellence of the “Hymns” is seen in its 
systematic arrangement and in its abundant va¬ 
riety. The benefit of a simple and philosophical 
disposal of the various parts of the work was expe¬ 
rienced and highly appreciated before it had been 
in use six months. Let the reader glance at the table 
of contents, and he will see that every necessary sub¬ 
ject is embraced, and that each has its proper place 
in the volume. Part L, adapted to Public Worship, 
comprises the Being and Perfections of God—Me¬ 
diation of Christ—Offices of the Holy Ghost—In¬ 
stitutions of Christianity—The Gospel Call—Peni¬ 
tential Exercises —Christian Experience—Death 
and the Future State — and Special Occasions. 
Part II.—Social Worship—embraces—Communion 
of Saints and Prayer. Part III.—Domestic Wor¬ 
ship—includes—The Family and the Closet. The 
book closes with Benedictions and Doxologies. 
The volume constitutes a complete thesaurus of the 



296 


THE SERVICE OF SONG. 


choicest sacred lyrics. We can conceive of no 
want in the department of praise, felt either by 
congregations, families, or individuals, which may 
not be supplied from the one thousand and sixty- 
three hymns and doxologies of which the work is 
composed. While it covers the entire field of the¬ 
ology and Christian experience, it embraces no less 
than thirty-seven varieties of metre. 

2. We notice the literary and poetical excellence 
of the hymns. On this point but little need be 
added to the simple statement that the book is in¬ 
debted to the sanctified genius of upwards of one 
hundred pious lyrists. The following are the 
names of some of the authors, with the number 
of hymns composed by each: C. Wesley 542, 
Watts 151, Doddridge 62, J. Wesley 37, Mont¬ 
gomery 21, Newton 16, Cowper 11, Beddome 11, 
Gibbons 9, Heber 7, A. Steele 8, S. Wesley, Jr., 
7, Hart 6, Brady and Tate 6, Addison 5, Grant 5, 
and 142 by eighty-five other authors. 

It must be borne in mind, too, that only the 
choice productions of these illustrious votaries of 
song have been admitted. We may safely say 
that, in procuring materials for this justly popular 
Hymn-Book, the whole world of sacred poetry, 
then extant, was laid under contribution. 

3. The crowning excellency of the book is its 
Orthodoxy and its Spirituality. The tenets which 
it inculcates have been rigidly scrutinized, and no 
heterodoxy has been discovered. The few stanzas 


THE SERVICE OF SONG. 


297 


which have been considered by some as of doubt¬ 
ful signification, are satisfactorily explained when 
subjected to the ordinary rules of interpretation. 
The Bishops in their preface remark: 4 4 This 

Hymn-Book is truly Wesleyan, or rather Scrip¬ 
tural in its sentiments, also in the prominence 
given to those subjects which are of the greatest 
importance in the Christian life.” 

Many of these hymns are marked by a spiritual 
buoyancy—a holy joyfulness—that admirably fits 
them for purposes of worship. Some of them, it 
is true, are penitential and precatory, and it is well 
for us sometimes to sing our prayers. We wor¬ 
ship God by making, in faith, an hnmble, direct 
appeal to Him as the Author of our being and the 
Father of our mercies. 

Some of the pieces in the book are of a didactic 
cast; but they are very far from being prosy homi¬ 
lies. They first speak forcibly of the greatness 
and goodness of God, and then call upon us, as 
with a trumpet’s voice, to rise up and render to 
Him the thanks and the adoration which are justly 
His due. 

But a large proportion of the hymns under review 
are properly hymns of praise, precisely such as 
ought to constitute at least three-fourths of our 
songs in the house of the Lord. We have preach¬ 
ing in the sermon, and prayer before and after it; 
therefore, if our hymns are mostly praying and 
preaching hymns, a tiresome monotony in the 




298 


THE SERVICE OF SONG. 


service is apt to Ibe the result. Let an agreeable 
variety, and at the same time a graceful and effec¬ 
tive homogeneity, be imparted to. the worship by 
incorporating into it prayer, preaching, and praise, 
in due proportions. 

The Hymn-Book of which we speak is good ; let 
it be judiciously used. On every occasion of 
public and social worship, as a rule, would it not 
be well for the minister to select at least two 
hymns of praise? The Rev. Henry Allon says, 
perhaps too emphatically: “Church-song is re¬ 
stricted to the lyrical form of poetry, for this alone 
can express the consentaneous emotion and wor¬ 
ship of a congregation. It does not, therefore, 
tolerate didactic poetry—hymns which are merely 
disguised sermons, which expound doctrines, or 
analyze feelings. It (Church-song) is the expres¬ 
sion of feeling, not the description of it. A con¬ 
gregation can not sing a creed or a homily. It 
may not preach to God; it can not preach to 
itself.” 

For the purposes of worship, the preference is 
certainly to be given to such hymns as 

“ All hail the power of Jesus’ name—” 

f * Come let us join our cheerful songs 
With angels round the throne.” 

What we especially need in our Cliurch-song, is 
the eagle’s wings upon which the pious soul may 


THE SERVICE OF SONG. 


m 


soar Sun-ward. These we have in the hook under 
review—pure, seraphic, sublime thoughts. We 
might also enumerate among the minor excel¬ 
lencies of the Hymn-Book, the copious index ; the 
titles prefixed to all the hymns, and the authors’ 
names which, having been ascertained with great 
care, accompany their hymns respectively, only a 
few pieces in the book being anonymous. 

We present the various and excellent collections 
of hymns and songs with which the Churches are 
supplied, as a complete answer to the question, 
“ What should we sing ? ” We cannot look upon 
them without regretting that they are so little 
studied by those for whose especial benefit they 
have been published. How many thousands of 
intelligent church members have never yet given 
their Hymn-Book a careful reading ! How many 
ministers have contented themselves with using the 
more familiar pieces, without exploring the invalu¬ 
able treasures contained in the book which they 
use, perhaps, daily! It is a very interesting and 
profitable exercise to carefully peruse volumes of 
this kind, criticising every stanza, and marking 
every hymn, as didactic, precatory, or as a hymn 
of praise. In this way, many most beautiful 
couplets and stanzas will, for the first time, attract 
the reader’s attention, and many admirable hymns 
hitherto unused by him, will be discovered. This 
highly entertaining exercise will prove to be 
very beneficial in a spiritual point of view, and 


300 


THE SERVICE OF SONG. 


cannot fail to produce a vastly liiglier apprecia¬ 
tion of the book than was previously felt. 

Among other excellencies of the Hymn-Book 
under review, we have mentioned the fact that the 
authors’ names, respectively, are prefixed to nearly 
all the hymns. Many-of these hymns, apart from 
those composed by Watts and Wesley, are favorite 
pieces which have been used by thousands of those 
who now sing with the angels and the redeemed 
in heaven. 

A brief account of the writers of some of 
them may not be unacceptable.* We begin with 
the Rev. John Newton, who wrote— 

“How tedious and tasteless the hours—” 

“Approach my soul the mercy seat—” 

“Amazing grace! how sweet the sound—” 

“In evil long I took delight—” 

“Though troubles assail and dangers affright—” 

and eleven others in the Collection. 

Mr. Newton was the son of respectable parents, 
and received the rudiments of a classical educa¬ 
tion. His father was a mariner, and the son also 
went to sea. After a series of strange adventures 
by sea and land, he was finally “ impressed ” and 
carried on board of an English vessel of war, 
which was about to sail for the East Indies. He 
was promoted to the rank of midshipman, but his 
conduct was extremely irregular. At length in a 
fit of folly he deserted from the service; but, being 

* Condensed from “Methodist Hymnology,” by D. Creamer, Esq. 


THE SERVICE OF SOXG. 


301 


retaken, he was brought in chains to the vessel, 
was publicly flogged, and expelled from the quar¬ 
ter-deck. He finally entered into the service of an 
English slave-dealer on the west coast of Africa. 
This was in the year 1746. Here his degradation 
and sufferings were extreme. He tells us that 
while he was sick with a burning fever, he often 
found it difficult to procure a draught of water; 
and that when his appetite returned, his hunger 
was often appeased by the food which was secretly 
brought to him by the slaves who were in chains, 
from their own scanty supplies. He also suffered 
greatly for want of clothes, and was sometimes 
exposed to incessant rains, accompanied with 
strong winds, for thirty or forty hours together, 
without any shelter whatever. He sometimes 
stood on the rocks and washed his clothes, and 
then let them dry on his person while he slept. 
And, worse than all, liis heart, according to his 
own confession, was darker than his outward con¬ 
dition. 

This is the same John Newton, who afterward 
became the eminent minister and author, so well 
known for his numerous “Letters” on religious 
subjects, and the “ Olney Hymns,” which he wrote 
in connection with Cowper, Newton being the 
author of all of them with the exception of about 
sixty. He was a poet of very humble order, but his 
hymns are highly prized as the sincere effusions of 
a loving heart. 


302 


TIIE SERVICE OF SONG. 


Tlie Rev. John Cennick is designated as the 
author of 

“Jesus my all, to heaven is gone,” 

“Children of the heavenly King.” 

In the year 1739, Mr. Cennick became acquainted 
with Messrs. John and Charles Wesley, and was 
appointed by the former his first teacher in Kings- 
wood School. This appointment was probably 
made on the recommendation of Mr. Whitefield, 
whose example in preaching Calvinistic doctrines 
was followed by' Mr. Cennick. He left Kings- 
wood, after which he joined Mr. Whitefield, and 
became very popular for a time. Subsequently 
he joined the Moravians, in connection with whom 
he remained until his death, in the year 1775. 
He is spoken of as possessing a sweet simplicity 
of spirit, with ardent zeal in the cause of Christ, 
and is considered the founder of the Moravian 
Churches in Dublin and the north of Ireland. 
His hymns are upward of eight hundred in num¬ 
ber, and fill two thick volumes; but the most of 
them are mere doggerel. The two which we have 
mentioned, however, are among the most popular 
and useful of our hymns. 

Mr. Cennick also wrote several volumes of 
“ Village Discourses,” which still circulate among 
the Calvinistic Dissenters in England. 

“ Come, Thou fount of every blessing,” 

has been ascribed to the Rev. Robert Robinson, 


THE SERVICE OF SONG. 


303 


but its authorship is now attributed to Lady Hun¬ 
tingdon, the pious, gifted, and distinguished 
patroness of the Calvinistic Methodists in Great 
Britain, in the time of the Wesleys and Whitefield. 

That old favorite hymn, 

“On Jordan’s stormy banks—” 

and three others in the Collection, are said to 
have been written by the Rev. Samuel Stennett, 
D. D. He was a native of Exeter, England, and 
was ordained to the pastoral office in the Baptist 
Church in the year 1758, he being then thirty-one 
years of age. After exercising himself in the 
office of the ministry with great acceptability 
and usefulness for thirty-seven years, Hr. Sten¬ 
nett died in 1795, in his sixty-eiglith year. In 
the year 1824, his works, with an account of 
his life and writings, were published in three 
octavo volumes. His hymns, only thirty-four in 
number, after those of Watts and Wesley, are 
among the best in the English language. 

We are indebted to the Rev. Joseph Hart for 
the following: * 

“Come ye sinners, poor and needy—” 

“Once more we come before our God—” 

“ O, for a glance of Heavenly day—” 

“That doleful night before His death—” 

“ Prayer is appointed to convey—” 

“This, this is the God we adore.” 

Mr. Hart, late a minister of the Gospel in Lon- 


304 


THE SERVICE OF SONG. 


don, published in the year 1759, a volume of 
“ Hymns on Various Subjects, with The Author’s 
Experience.” In his Preface, it is said—“ The 
following Hymns were cohiposed partly from sev¬ 
eral passages of Scripture laid on my heart, or 
opened to my understanding, from time to time, 
by the Spirit of God, or else hinted to me by 
other Christians (of which latter there are indeed 
very few): partly from impressions felt under 
different frames of spirit at the times when they 

were respectively written.I desire 

wholly to submit them, with jnyself, to the all¬ 
wise disposal of that God, the sweet, enlivening 
influences of whose blessed Spirit I often felt 
while they were composing.”. 

Although Mr. Hart must be numbered among 
the least of the poets, yet some of his Hymns 
have become an imperishable inheritance to the 
people of God. In doctrine he was Calvinistic. 

Bishop Reginald Heber wrote— 

“ From Greenland’s icy mountains,” 

“ Brightest and best of the sons of the morning,” 

and six others of the “ Hymns.” 

He was born in Yorkshire, England, in the 
year 1783. While a student, he greatly dis¬ 
tinguished himself by obtaining several prizes; 
soon after which he was elected to a fellowship 
in All Souls’ College, when he visited Germany, 
Russia, and the Crimea. For several years 




THE SERVICE OF SONG. . 305 

after liis return, he devoted himself zealously 
to his duties as a parochial priest. On the 
death of Bishop Middleton, he accepted the See 
of Calcutta, and subsequently made visitations 
through various districts of his very extensive 
diocese. Having arrived at Tirutchinopoli, in the 
discharge of his Episcopal duties, April 1, 1820, 
the next day, while bathing, he was seized with 
an apoplectic fit, of which he died. Bishop Heber 
is said to have been an excellent man, and a zeal¬ 
ous advocate of the cause of Christ. 

In the year 1827, a small volume of hymns 
written by him was published, in relation to which, 
it is said, “ they breathe a devout spirit, recognize 
the peculiar doctrines of Christianity, and, as 
poetical compositions, some of them possess con¬ 
siderable beauty.” The Bishop’s best composition 
in hymnic verse, and the one which has given him 
the greatest reputation, is his well known “ Mis¬ 
sionary Hymn,” of which we have made mention. 

We must close these brief sketches with a few 
remarks in regard to Bishop Ken, the author of 
that excellent and oft-sung doxology — “Praise 
God from whom all blessings flow.” 

Thomas Ken, some time Bishop of Bath and 
Wells, was born in the year 1637, and died in the 
year 1710. He had the double honor of being one 
of the seven prelates sent to the Tower for pro¬ 
testing against the tyrannical usurpations of 

spiritual authority by James II., and also of con- 
20 


306 


THE SERVICE OF SOJNTG. 


scientiously vacating his See rather than take the 
oaths to William III., after having sworn alle¬ 
giance to his predecessor. His poems are numer¬ 
ous and of considerable merit, though he is now 
generally known only by three — the Morning , 
Evening, and Midnight Hymns , to each of which 
is affixed the great Doxology to which we have 
alluded. These were originally published in the 
year 1697. 

In reference to these hymns, Mr. Montgomery 
remarks : “ Had he endowed three hospitals, he 
might have been less a benefactor to posterity. 
There is exemplary plainness of speech, manly 
vigor of thought, and consecration of heart, in 
these pieces.” 

The following are the first lines of each of them: 

“Awake, my soul, and with the sun”— 

“All praise to Thee, my God, this night”— 

“My God, I now from sleep awake.” 

We close these biographical sketches with de¬ 
vout thanksgivings to our Heavenly Father for 
the Bible—the grand text-book of sacred poetry, 
and also for so many pious and gifted writers of 
“ psalms, hymns, and spiritual songs.” 

But the world’s great volume of holy song is 
not yet complete. “ Who may presume to write 
‘Finis’ upon any human form of prayer, or col¬ 
lection of songs ? When Ambrose has brought his 
contributions to worship-song, is Gregory to be 


THE SERVICE OF SOHO. 


307 


forbidden ? When Gregory has completed his 
Hymnasium, is Luther to be interdicted? When 
Luther has filled the Churches of the Reformation 
with sacred song, is Gerhardt to be declared con¬ 
traband? When Sternhold and Hopkins have 
presented their version of the Psalms, is Watts to 
be delivered over to ‘uncovenanted mercies?’ 
When Watts has completed his wonderful canon 
of psalms and hymns, are the - contributions of 
Wesley and Cowper, Montgomery and Keble to 
be put into the Apocrypha ? Who will presume to 
discriminate the inspiration? Blessed be the 
Great Head of the Church, its hymnology has 
hitherto been a perennial inspiration of its spirit¬ 
ual life. The great gift of sacred song has been 
restricted to no age or nation: some great voice 
has ever been heard attesting its endowment with 
‘ the gift and faculty divine.’ And it were as 
foolish as it would be presumptuous to refuse its 
later products. The ever varying and ever devel¬ 
oping spiritual life of each generation will neces¬ 
sarily adapt and create its own hymnology; and 
the presumption is, the inspiration of the later 
Christian ages will be more precious than that 
of the earlier. The ever enriching thought—the 
ever enlarging experience—the ever deepening 
sanctity of the Church, will produce a richer, 
nobler song.” * 


* Alton. 




308 


• THE SERVICE OF SONG. 


SECTION IV.—WHY SHOULD WE SING? 


CHAPTER I. 

WE SHOULD PRAISE GOD FOR WHAT HE IS IN 
niMSELF AND FOR WHAT IIE IS TO US. 

What constitutes the Glory of God?—The work of Creation proves 
God to be Omnipotent—His power as great in the Moral as in 
the Natural World—The Wisdom of God commensurate with 
His Power—God is Love—The Mercy of God the most at¬ 
tractive form of His Goodness — We are overwhelmed with 
emotion when we consider what God is to us. 

The question—Why should we sing ?—is one of 
fundamental importance, and hence, although it 
has been, in effect, answered in the preceding 
chapters, yet it deserves a more explicit notice; 
and, for its further consideration, may the Holy 
Spirit suitably impress our hearts. 

We should praise God for what He is in Himself. 
When we undertake to contemplate the Divine 
character, we find ourselves overwhelmed with 
the grandeur of the theme, and all we can hope to 
do is to grasp and realize as far as we may those 
simple and yet sublime revelations of the nature 
of the Deity which have been graciously made 
to us. 



THE SERVICE OF SONG. 


309 


Infinite Power, infinite Wisdom, and infinite 
Goodness, constitute the glory of God. 

First, we have the attribute of Power. The 
God in whom we trust must be “ mighty and able 
to save.” If we are to look to Him for the pardon 
of sin; for spiritual regeneration; for daily bread, 
both for the soul and the body; for protection from 
danger; for support and comfort amid our trials 
and sorrows; for victory over the last enemy; fol¬ 
ded verance from the dominion of the grave, and 
for “ life and immortality;”—then we must be 
assured that the Arm upon which we lean is 
Omnipotent and Eternal. With this conviction 
we turn to the Scriptures, and the first sentence 
on the first page satisfies our anxious minds. 
“ In the beginning God created the heaven and 
the earth.” If He created all things, He must 
have existed before, all things. He is, therefore, 
self-existent, and independent of all created things. 
Then, we will not fear “ though the earth be re¬ 
moved, and though the mountains be carried into 
the midst of the sea.” 

The fact that the work of creation is ascribed 
to God, is conclusive evidence of His Omnipo¬ 
tence. By the ability which He gives us, we can 
change the form or the color of matter, but no 
man—no angel—can create the smallest mote 
which floats in the evening sunlight, or the impal¬ 
pable particles of dust which rise up from beneath 
our‘feet. All the boasted divinities of the heathen 


310 


THE SERVICE OF SONG. 


are utterly mute, sightless, and inanimate, but 
“ our God made the heavens.” He created the 
earth and all the other planets, and commissioned 
them for their interminable journey around the 
magnificent centre of the system. He sprinkled 
the heavens with suns—peopled immensity with 
countless millions of ponderous and radiant worlds, 
and forever upholds them by the word of His pow¬ 
er. And this is but His handiwork—the work of 
His fingers. 

In the moral world His power is equally great. 
He has already triumphed gloriously over death 
and hell, and has borne millions of the ransomed 
to the heaven of heavens. 

The power of God remains unimpaired by the 
lapse of ages. From eternity to eternity, He con¬ 
tinues ever the same, “without variableness or 
shadow of turning.” 

Amid the revolutions and decay which mark 
the annals of time, He still sits supreme on His 
throne—the “King of kings, and Lord of lords;” 
and is, for aught we know to the contrary, con¬ 
tinually calling into being new worlds, that they 
may everlastingly roll and shine to His praise. 

The final conflagration, while it will overwhelm 
the ungodly with dismay, will only serve to thrill 
the believer’s heart with higher joy than he ex¬ 
perienced during the succession of summer and 
winter, seed-time and harvest, and day and night. 
He looks out upon the sea of flame as it rolls its 


THE SERVICE OF SONG. 


311 


towering billows from pole to pole, and regards 
the grand catastrophe as a stupendous display of 
the Divine Omnipotence—the prompt and consol¬ 
ing fulfilment of prophecy. As he gazes upon the 
scene, he exclaims: “ Thou, Lord, in the begin¬ 
ning hast laid the foundation of the earth, and 
the heavens are the work of Thy hands. They 
shall perish, but Thou remainest; and they all 
shall wax old as doth a garment; and as a vest¬ 
ure shalt Thou fold them up, and they shall be 
changed: but Thou art the same, and Thy years 
shall not fail.” 

“Hope, undismayed, shall o’er the ruins smile, 

And light her torch at nature’s funeral pile.” 

We are further taught in the Scriptures that the 
Wisdom of God is commensurate with His Power. 
The doctrine of Omniscience is also closely allied 
to that of Omnipresence. When we reflect upon 
our own ignorance, and when we consider that 
there are mysteries which angels cannot solve, 
then it is that the idea of infinite wisdom becomes 
truly grand. Of course our conceptions of that 
which is infinite must be imperfect, and yet it is 
our privilege and our duty to contemplate this 
attribute of the Deity with awe and delight. The 
wisdom of God surveys the eternity that is past; 
at the present time, it surrounds and penetrates 
all matter, searches all hearts, fills immensity; 
and with unerring certainty, travels over the 
limitless future. There is no song in heaven 


312 


THE SERVICE OF SONG. 


which the all-wise God does not hear; no trans¬ 
action on earth which He does not witness; no 
pang endured by the lost in hell of which He is 
not cognizant. Well may the Psalmist exclaim : 
“ Whither shall I go from Thy Spirit ? or whither 
shall I flee from Thy presence ?” God is with the 
multitude in the city; with the cottager on the 
mountain-side ; with the pilgrim as he pursues his 
lonely march through the desert; with the mari¬ 
ner in mid-ocean, and with the exile on his deso¬ 
late island. 

In death, our spirits return to that God who 
gave them, and the mortal part is watched and 
guarded until the time comes for its everlasting 
reunion with the soul. Our Omniscient Creator 
and righteous Lord will ultimately “ bring every 
work into judgment, with every secret thing, 
whether it be good, or whether it be evil.” 

How surpassingly excellent and wonderful is 
the wisdom of God ! 

But the combination of wisdom and power is 
only calculated to excite alarm, unless evidence be 
given that these attributes will operate for us, and 
not against us. Ho enemy is so much to be dread¬ 
ed as the one who confronts us with far-seeing 
sagacity and unlimited ability. Contemplating 
the Divine character, therefore, we anxiously 
ask—is God kindly disposed toward us? or is 
He our implacable and invincible foe? We turn 
to the Record, and there we read that— God is 


THE SERVICE OF SONG. 


313 


Love. The goodness of God is prominently set 
forth on almost every page of the Scriptures. The 
l'salmist, addressing the Deity, says, beautifully, 
forcibly, and comprehensively—“ Thou art good, 
and Thou doest good.” God is good in principle, 
and good in action. As it regards His nature, He 
is emphatically tiie gracious one. As it regards 
His dealings with His creatures, He is the all- 
bountiful POURER FORTH OF ALL GOOD. He is 
the grand source whence all goodness flows, 
whether it be found on earth or in heaven. Good 
angels or good men are so only because they have 
been brought into association with the God of 
goodness. 

Jehovah, it is true, is just; but He is not tyran¬ 
nical. Before His wrath smites, His love wooes. 
He inflicts vengeance, but only upon those who 
have rebelliously trampled upon His goodness. 
How shall we compute or measure the exuberant, 
unparalleled, unspeakable wealth of the Divine 
love ? We survey as far as we can the innumera¬ 
ble rivers of beneficence which flow out from this 
grand, exhaustless Reservoir, and, overwhelmed 
with wonder and gratitifde, we exclaim: 

“Its streams the whole creation reach!” 

The Mercy of God is certainly to us the most 
enchanting form of His goodness—the most gra¬ 
cious display of His love. The history of the 
angels—their holiness and happiness—is indeed 


314 


THE SERVICE OF SOHO. 


a shining record of the goodness of God. The 
story of man’s stay in Eden has His unutterable 
love both for its warp and woof. But we are 
overwhelmed with pleasing astonishment. when 
we call to mind the fall of man, and the fact 
that He has devised means whereby His banished 
ones are brought back to His loving embrace. 

If it were possible for us to get beyond the 
domain of the King Eternal; if we could forget 
that He is the Author of our being and the Father 
of our mercies; if from our remote stand point 
we could view the character and works of Jeho¬ 
vah as disinterested spectators, even then we 
should be filled with awe and wonder at the con¬ 
templation of a spectacle so august and glorious. 
We should be excited, attracted—sweetly and 
powerfully drawn toward this embodiment of 
unlimited power and goodness, directed by infinite 
wisdom. But if this would be the effect of a 
distant, and merely abstract view of the Deity, 
what must be the emotions of the soul when, un¬ 
der the influence of the Spirit, we sing— 

“This awful God is ours, 

Our Father and our £ove; 

He will send down His heavenly powers, 

To carry us above!” 

O, how expressive of condescending regard is 
that word Mercy! Literally—the pain of His 
heart. We read of His u tender mercies,” and of 
“ the riches of His goodness.” 


THE SERVICE OP SOHO. 


315 


In Creation we see the Hand of God; in Re¬ 
demption, we see His lieai t. 

“ Here the whole Deity is known, 

Nor dares a creature guess 
Which of the glories brighter shone, 

The justice or the grace.” 

“ Now the full glories of the Lamb 
Adorn the heavenly plains: 

Bright seraphs learn Immanuel’s name, 

And try their choicest strains.” 

In this matter of love, God must forever stand 
pre-eminent. “ Greater love hath no man 
than this, that a man lay down his life for his 
friends.” The patriot may fall in defense of his 
loved ones, and the u green graves of his sires;” 
the mother, traveling over the snows of Russia, 
may cast herself to the ravenous beasts who are 
in pursuit, that while they are devouring her, the 
children, who are dearer to her than life itself, 
may escape; but “ God commendetli His love to¬ 
ward us in that while we were }^et sinners, Christ 
died for us.” 

“ O, Lamb of God, was ever pain. 

Was ever love like Thine.” 

Human nature “ sunk in shame,” is to be digni¬ 
fied—glorified. So far as we can determine, no 
angel in heaven has so much cause to thank and 
praise God as have ransomed sinners. Christ 
was not ashamed to call us brethren—to take upon 
Himself our nature—and in the union of the human 
with the Divine nature, to ascend to Heaven and 


316 


THE SERVICE OF SONG. 


take His seat at the right hand of the Father. In 
His triumphant resurrection and ascension, and 
admittance into glory everlasting, He is “ our 
forerunner.” 

“ Up to the Lord our flesh shall fly 
At the great rising day.” 

It is thought by many that the faithful will not 
only he “ equal to the angels,” hut our nature 
having heen united to the Divine, and God having 
made for us an infinite sacrifice, we shall stand 
nearest the throne, and, as St. John seems to set 
forth, will he leaders in the song of Redemption. 

He withholds “ no good thing ” from His obedi¬ 
ent children. For them the sun shines—the rain 
falls—the flowers bloom—the earth brings forth 
its fruits. God has given them life, and health, 
and friends, and a safe abode. He has not only 
bought them with a price; but He has released 
them from the guilt and power of sin, and has 
adopted them into His own family. Not only 
does Christ reign in their hearts, but they are 
heirs apparent to thrones and crowns of enduring 
stability and glory. 

Let the child of God review his past life ; 
let him at the same time look into his own heart, 
and he will find abundant reason for praise. How 
often has God delivered him from temptation— 
soothed him in sickness—solaced him in seasons 
of bereavement—guided and sustained him in the 
midst of perplexity and disappointment, and given 


THE SERVICE OF SONG. 


317 


him the victory over his spritual foes % Whence 
that sense of security which he continually feels— 
that unutterable peace and joy—that hope full of 
immortality ? 

Let the believer, in imagination, bring near the 
final triumph of faith over sin and sorrow; death 
and the grave ; the celestial gates 

“ On golden hinges turning,” 

to admit the way-worn traveler to Zion, and the 
ineffable and endless joys consequent upon his 
“ abundant entrance” into that city whose temple 
is the Lord God and the Lamb. Let him survey 
the awful depths of that hell which he has escaped 
and the delectable mountains, gilded with the 
golden light of an eternal day, on whose summits 
lie may stand in glory and peace, and let him re¬ 
member that this “ great salvation” is through the 
unspeakable love of our Heavenly Father for His 
rebellious children—and will he be at a loss for 
an answer to the question—Why should we sing ? 

To all these inestimable blessings, present and 
prospective, the heart and tongue should respond 
in accents of adoring love. A holy rapture should 
possess the soul; thanksgivings burning with in- 
tensest fervor should constantly ascend to Him 
who has so graciously visited us. 

When we essay to praise a God so glorious in 
Himself, and so unceasing and bountiful in His 
benefactions to us, His unworthy creatures, cold- 


318 


THE SERVICE OF SONG. 


ness and dullness can be nothing less than an 
abomination in His sight. Our zeal should “ no 
languor know.” Faith should bind us to the 
Cross; Love should set the soul on fire, and angel¬ 
winged Hope should waft us onward to the trans¬ 
porting scenes of the radiant future. 


THE SERVICE OF SONG. 


319 


CHAPTER II. 

THE POWER OF SONG. 

It banishes the evil Spirit from Saul — Tyrtaeus — What Terpander 
did with the Spartans — Alexander — Amabeus, the Harper — 
The Abyssinian Trumpet — William the Conquerer — Effect of 
Music on Murad IV.— Music at the battle of Quebec in 1760 — 
Haydn moved to tears — The Theatre — The Starving Lion 
Charmed — The Singing of Cookman — Singing by Soldiers in 
Mexico — Effect of a Song on an Actress — Song at Camp¬ 
meeting -The Grey-headed Gambler-The Nobleman’s 

Daughter — Reasons why we should Sing — “Sing Praises to 
God! Sing Praises! ” 

Being persuaded that the general estimate of 
the power of song is very far below the reality, 
we would, if possible, contribute something 
toward elevating the popular appreciation to the 
proper standard. With this view, we call atten¬ 
tion to some' of the effects which music has pro¬ 
duced. 

Let us turn to the following brief, but beautiful 
and wonderful narrative: “ It came to pass, when 
the evil spirit from God was upon Saul, that David 
took a harp, and played with his hand: so Saul 
was refreshed, and was well, and the evil spirit 
departed from him.” 

Here is a fact to be believed, whether we can 
solve the mystery or not. The music from David’s 


320 


THE SERVICE OF SONG. 


harp fell upon the ear of the unhappy monarch 

“ With power the pulse of anguish to restrain, 

And charm the evil spirit from the brain.” 

When the prophet Elisha was called upon by 
King Jehoshaphat to prophesy in regard to the 
contemplated battle, his mind was so troubled by 
the improper conduct of the young men at Bethel, 
and their dreadful end, that he was disqualified 
for the work. Hence, he said: “ How bring me a 
minstrel. And it came to pass, when the minstrel 
played, that the hand of the Lord came upon him.” 

Pythagoras* thought that the practice of music 
would correct morals, and cure all the diseases of 
the soul. 

Of the honor in which minstrels were held, 
many instances occur in Ossian. They were am¬ 
bassadors between contending chiefs, and their 
profession was held sacred. They and the Druids, 
who were the philosophers and priests of those 
times, whose interests' were consolidated, were ex¬ 
empted from taxes and military service; and so 
great was the veneration which the princes enter¬ 
tained for their party, and so highly were they 
delighted with their strains, that they sometimes 
pardoned even capital offenses for a song. 

The celebrated Tyrtaeus was not only a warrior, 
but also a poet and a musician. The Spartans 
paid him the highest honors; and the soldiers, 
before going on a military expedition, were sum- 

* Many of these items are taken from Hirst, Hogarth, and Gould. 


THE SERVICE OF SONG. . 


321 


moned to the king’s tent to listen to his warlike 
songs. 

Thucydides says that when the Lacedemonians 
went into battle, it was the practice to play soft 
music for the purpose of preventing their courage 
from becoming too impetuous ; but that, on one 
occasion, when the day was going against them, 
Tyrtaeus, who was acting the part of a musician, 
quitted the soft Lydian mode, and began to play 
in the Phrygian style, which so re-animated the 
retiring troops, that they returned to the charge 
and gained the victory. 

Plutarch relates that Terpander, by means of 
his music, appeased a violent sedition among the 
Spartans, and that Solon, merely by singing a 
poem of his own composition persuaded the Athe¬ 
nians to renew an unsuccessful war which they 
had given up in despair. 

Plutarch also mentions that when the celebrated 
flute-player, Antigenides, played a martial air be¬ 
fore Alexander, that monarch became so inflamed 
that he sprang from the table and seized his arms. 

Amabaeus, the harper, whenever he sang on the 
stage, was paid for his performance an amount 
nearly equal to a thousand dollars, Federal money. 

Mr. Bruce states that the Abyssinian trumpet 
is played slowly when no enemy appears in sight; 
but when the enemy is near, it is sounded very 
quickly, and with great violence, and has the effect 
of transporting the soldiers with absolute fury 


322 


THE SERVICE OF SOHO. 


and madness, making tliem so regardless of life 
as to tlirow themselves with gallantry into the 
very midst of the enemy. The same effect is said 
to be produced by the bagpipe upon the Scottish 
Highlanders. 

When William fought the desperate battle of 
Hastings, by which he obtained the title of Con¬ 
queror, he was accompanied by minstrels. 

Luther says: “ The devil specially hates good 
music, because thereby men are made joyful. . . . 
Music is the best soother of a troubled man where¬ 
by his heart is again quickened, refreshed, and 
made contented. It gives a quiet and joyful mind. 
My affection overflows and gushes out toward it, 
so often has it refreshed me, and relieved me from 
great sorrows;” 

He says to a friend who was afflicted wfltli 
melancholy: “ If the devil comes again and puts 
gloomy thoughts and cares into your head, say, 
‘Out, devil! I must now sing and pray to my 
Lord Christ! ’ then run to your organ, or call in 
your good friends, and sing a tune or two till yon 
learn to defy the devil.” 

On another occasion he remarked: “ Our sing¬ 
ing distresses the devil, and hurts his feelings 
amazingly ; but our impotence, and complaining, 
and groaning, please him mightily, and make him 
laugh in his sleeve.” 

The barbarous conqueror’s heart is not proof 
against the softening power of music. When 


THE SERVICE OE SOHG. 


323 


Murad IV. had taken Bagdad by assault, in the 
year 1637, he ordered a general massacre of the 
inhabitants. One Persian alone dared to raise 
liis voice: he demanded to be conducted to the 
Emperor, as having something of importance to 
communicate before he died. Having prostrated 
himself at the feet of Murad, Scakculi—for that 
was the Persian’s name—cried, with his face to 
the earth, “ Destroy not, O Sultan, with me, an 
art of more value than the whole empire ; listen 
to my songs, and then thou shalt command my 
death.” Murad consented. Scakculi drew from 
under his robe a little harp, and poured forth, ex¬ 
tempore, a sort of romance on the ruins of Bagdad. 
The stern Murad, in spite of the shame which a 
Turk feels in betraying the least emotion, was 
melted into tears, and commanded the massacre 
to be stopped. 

At the battle of Quebec, in the year 1760, while 
the British troops were retreating in great disor¬ 
der, the pipers played a martial air; the retiring 
soldiers heard, and returned to their posts with 
alacrity and courage. 

The character of the Peruvian Indians is un¬ 
commonly sombre at the present time, perhaps in 
consequence of the wrongs which they have suf¬ 
fered; but, on hearing the notes of the jaina, an 
instrument of very simple construction made of a 
large reed, the wildest horde, in the midst of up¬ 
roar and debauchery, are instantly subdued into 


324 


THE SERVICE OF SONG. 


silence. Tears will steal into the eye, and the 
sobs of the women are the only sounds that dis¬ 
turb the almost unearthly music. 

The vigorous poetry and music of the Marseilles 
Hymn, acting on minds already excited by the 
events of a momentous crisis, aroused the popula¬ 
tion of France to an enthusiasm which rose to 
phrensy. Such is the influence, of national airs 
set to strong and stirring words. 

Insanity, it is said, has often been cured by the 
soothing strains of music. 

When Haydn heard a psalm sung in unison 
by four thousand children, in St. Paul’s Cathedral, 
London, he was moved to tears. 

It is supposed, that one-lialf of tliose who fre¬ 
quent the theatre are attracted thither by the 
music. 

In England, the power of music was tried upon 
a lion with most surprising effect. The animal, 
having been reduced to a state of starvation, food 
was placed before him. Just as he commenced 
eating, the wooing voice of music was made to 
salute his ears. The voracious starveling instantly 
dropped the delicious morsel to listen. The mu¬ 
sic ceased, and again the lion proceeded to tear 
the meat with that terrific energy which hunger im¬ 
parts. But the rush of soothing sounds invariably 
produced forgetfulness of the tempting meal, the 
experiment being repeatedly tried with the same 


THE SERVICE OF SONG. 825 

result. Even the skeleton king of the forest is 
captivated by music’s charms. 

The late Rev. Joseph Slatterie, of Chatham, 
England, was once walking in that town, when 
his attention was arrested by a youthful voice 
singing, 

“ The sorrows of the mind 

Be banished from the place; 

Religion never was designed 
To make our pleasures less.” 

Pleased alike with the sweetness of the voice, 
and the cheerful tones in which the stanza was 
sung, our friend looked around to see whence the 
singing proceeded; but for some time he looked 
in vain. At length he saw a little sweep with his 
head popping out of a chimney, and waving, with 
a sort of triumph, his brush over his head. O, 
said the venerable minister, it made me weep in 
gratitude to think how singing the praises of God 
contributes to make even a poor chimney-sweep 
happy! 

A minister in America, who was a stranger to the 
congregation, was, on a certain occasion, called to 
officiate in a cold and dreary Church. When he 
entered it, the wind howled, and loose clapboards 
and window-shutters clattered. The pulpit stood 
high above the first floor; there was no stove, but 
few persons in the Church, and they beating their 


326 


THE SERVICE OF SONG. 


hands and feet to keep them from freezing. He 
asked himself: “Can I preach ? Of what use can 
it be ? What shall I do ? If I read a hymn, can 
these two or three in the gallery sing ?” He con¬ 
cluded to make the trial, and read, 

“Jesus, lover of my soul,”— 

“ They commenced,” says the preacher, “ and the 
sound of a single female voice has followed me 
with an indescribably pleasing sensation ever 
since, and probably will while I live. The voice, 
intonation, articulation, and expression seemed to 
be perfect. I was warmed inside and out, and 
for the time was lost in rapture.” The minister 
preached with unusual freedom and success, and 
learned never to be discouraged by unfavorable 
appearances. 

The late lamented Cookman, who perished in 
the steamship President, is said to have been a 
most excellent singer. A writer says: “There 
was no place for a choir where Cookman sang. 
His voice was melody itself. The session of Con¬ 
gress was about to close upon the administration 
of Mr. Van Buren. Mr. Cookman had all his 
arrangements made to visit England, on the 
steamer President. The next Sabbath he was to 
take leave of the members of Congress in his fare¬ 
well sermon. The day came. An hour before the 
usual time, the crowd was seen filling the pave¬ 
ments of the avenue, and pressing up the hill to 


THE SERVICE OF SONG. 


327 


Representative Hall, which was soon filled to over¬ 
flowing. Unable to get seats, many went away 
disappointed. The whole space on the rostrum 
and steps was filled with Senators and Representa¬ 
tives. The moment had come. Mr. Cookman, 
evidently much affected, kneeled in a thrilling 
prayer, and rose with his eyes blinded with tears. 
His voice faltered with suppressed emotion as he 
gave out the hymn: 

“ ‘When marshaled on the nightly plain.’ 

“It was sung by Mr. Cookman alone. I can 
yet, in imagination, hear his voice as it filled 
the large hall, and as the last sounds, with their 
echoes, died away in the dome.” 

One who went through the Mexican campaign 
says : “ While stopping at the town of Matamoras, 
a number of our soldiers, as was their custom, met 
together to spend their time in. rude and noisy 
revelry. Amid these social gatherings, the sound 
of vocal and instrumental music was always heard. 
Indeed, the majority of our men were excellent 
singers; and, as they came from various parts of 
the Union, the favorite airs of each section were 
soon made familiar. Although they generally 
preferred such as were of a light and trifling 
cast, still they often sang the tunes most popu¬ 
lar with the different Churches. The persons 
to whom we have alluded had been assembled 


328 


THE SERVICE OF SONG. 


for some time; the wine was flowing freely, 
and their hilarity steadily increased; every thing 
seemed to promise them enjoyment. At this time, 
a soldier belonging to a Southern regiment entered 
the room, and taking a seat in the midst of the 
company, began singing, very deliberately, a 
hymn, commencing, 

“ ‘O, sing to me of heaven! * 

The tune was solemn and affecting; the lan¬ 
guage was moving and impressive. The strange¬ 
ness of the circumstance at once secured the 
attention of all present, and, as the singer pro¬ 
ceeded, the effect was striking ; the liquor ceased 
to flow, the rude oaths were hushed, and the sound 
of merriment died away. When the last verse 
was concluded, a perfect stillness reigned; the 
spell of revelry had been broken, and their antici¬ 
pated gayeties were doomed thus singularly to 
disappointment.” 

The Rev. John E. Edwards, D. D., of Virginia, 
traveling in Europe a few years ago, visited the 
St. Nicholas Cathedral, at old Freyburg, in 
Switzerland, where he heard the exquisite music 
of the great organ built by Mozer. It was at the 
hour of sunset, when his thoughts had “ played 
truant, and wandered away from the Alps, across 
the seas, and paid a visit to the loved ones at 
home.” Dr. Edwards says: “ I have never been 
able to account for the effect produced on me. I 


THE SERVICE 6 f SONG*. 


329 


was moved to tears, and could not tell why. My 
heart heat quickly, strongly, and a strange shiver¬ 
ing sensation trembled along every nerve.” 

One who had recently returned from a sea voy¬ 
age gives us the following account: “ On one of 
the delicious afternoons in February, peculiar to 
the West Indies, as the sun was declining below the 
western horizon, the ship lay in a calm near the 
Island of Cuba. The sea was uncommonly smooth, 
and the sails lay listless against the masts. . . . 
The sun was setting, and the whole ocean seemed 

of liquid gold.At this hour a few of the 

officers assembled on the forecastle to contemplate 
the scene; and recalling the joys of other days, 
to hold that converse which in a small degree 
alleviates the privations of a seaman’s life. . . . 
The father dwelt in tenderness on his distant 
family; the brother recalled the unbidden assidui¬ 
ties of a sister’s love; and the son felt his heart 
softened by the recollection of a mother’s care. . . . 
Such was the state of feeling, when a clear, melo¬ 
dious voice slowly poured forth the first line of 
that exquisite song—‘Home, sweet home!’.... 
We had often heard that song, but never had it 

come so thrillingly as then.The singer 

continued. As the song drew to a close, his emo¬ 
tion increased with that of every one who listened. 
At length, as the line, ‘ There’s no place like home,’ 
rose on the stillness of the hour for the last time, a 





330 


THE SERVICE OF SONG. 


rusli of feeling was evident, and, in many, showed 
itself in tears! . . . . Oh! it was good to look 
on men whom I had considered hardened in 
iniquity, thus throwing open the flood gates of 
long pent affections, that they might once more 
gladden and purify the soul! ~No one spoke ; and 
after a few moments in which all else was banished 
by the one dear thought of the distant home we 
had exchanged for our ‘ home on the deep,’ each 
one sought his pillow, I doubt not, a better and 
purer man.” 

A gay and thoughtless young lady left her home 
on a pleasure-seeking tour to a fashionable water¬ 
ing place. She arrived safely, but found, amid 
the ceaseless hilarity, “ an aching void within.” 
Being seated near an open window, she heard the 
soft, smooth voice of a servant girl as it warbled 
forth the words, 

“ O, for a closer walk with God,”— 

As she listened her soul was drawn out in prayer 
with the words— 

“ The dearest idol I have known, 

Whate’er that idol be; 

Help me to tear it from Thy throne, 

And worship only Thee! ” 

She wept penitential tears, trusted in Christ, and 
rejoiced with joy unspeakable and full of glory. 

An actress, while passing a cottage on the way 


THE SERVICE GE SONG. 


331 


to the theatre, had her attention arrested by a 
voice singing those familiar lines : 


“ Depth of mercy! can there be 
Mercy still reserved for me ? ” 


She stood and listened as the singer proceeded: 

“ Can my God His wrath forbear— 

Me, the chief of sinners, spare?” 

The heart was softened, and tears were shed. The 
words haunted her— 


-“ Can there be 

Mercy still reserved for me?” 

Neither the music nor the multitude at the theatre 
could hush that echo; and when she came out to 
act her part, she stammered, grew-confused, and 
very plaintively sang before the astonished audi¬ 
ence : 

“ Depth of mercy! can there be 
Mercy still reserved for me? 

Can my God His wrath forbear— 

Ale, the chief of sinners, spare ? ” 

and bursting into tears, she told them that her 
studied part had passed from her memory, leaving 
that touching hymn in its stead, and that she 
could never rest until she sought and found the 
mercy that was still reserved for her. She turned, 
and left the stage, never to appear on it again. 

The Rev. Robert A. Young, D.D., speaking of one 
of our foreign missionaries, says: “ I saw brother 



332 


THE SERVICE OF SONG. 


Cunnyngliam last, a few years before lie sailed for 
China. The woods were alive with horses and 
oxen; the servants were tearing and turning things 
in every direction about the camps; the tramp of 
many feet was heard; the hum of busy voices 
arose from little clumps of spectators that had 
gathered upon the encampment; Christian hearts 
were beating 4 high and warm; ’ praises went up 
like the 4 sound of many waters ; 5 penitents wept 
and prayed at the altar; but, above all, the clear, 
well-toned and well-trained voice of brother Cun- 
nyngliam arose, as he sang the hymn, commencing, 

“ ‘ O, may we meet in heaven ! ’ 


He was closing the services of a successful camp- 
meeting, in Tennessee. The tones of that voice 
linger in the ear of memory to this day. 


“ ‘ Perhaps in some far future land 

We yet may meet, we yet may dwell.’” 

In Macao, China, near Hong Kong, the principal 
occupation of the inhabitants is gaming. Here, 
on a certain occasion, a traveler found a company 
of gamblers in a back room on the upper floor of 
a hotel. At the table nearest him, there was an 
American, about twenty-five years old, playing 
with an old man. They had been betting and 
drinking. While the gray-haired man was shuf¬ 
fling the cards for “ a new deal,” the young man, 


THE SERVICE OF SONG. 


333 


in a swaggering, careless way, sang, to a very 
pathetic tune, the following words: 

“ One sweetly solemn thought 
Comes to me o’er and o’er, 

I’m nearer my home to-day 
Than I’ve ever been before; 

Nearer the crystal gate 
Where we lay our burdens down, 

Nearer leaving my cross, 

Nearer wearing my crown.” 

Hearing the singing, several gamblers looked np 
in surprise. The old man, who was dealing the 
cards, putting on a look of melancholy, stopped 
for a moment, gazed steadfastly at his partner in 
the game, and then dashed the whole pack of 
cards on the floor under the table. Then said 
he—“ Where did you learn that tune ? ” The 
young man pretended that he did not know 
that he had been singing. “ Well, no matter, 1 ” 
said the old man, “ I’ve played my last game, and 
that’s the end of it. The cards may lie there till 
doomsday, and I will never pick them up.” The ol d 
man having won money from the young man, about 
one hundred dollars, took it out of his pocket,, 
and handing it to the young man said: “Here, 
Harry, is your money, take it and do good with it. 
I shall with mine.” 

As the traveler followed them down stairs, he 
saw them conversing by the door-way, and over¬ 
heard enough to know that the old man was say¬ 
ing something about the song which the young 
man had sung. 


334 


THE SERVICE OF SONG. 


This song was, doubtless, learned at a mother’s 
knee, or in the Sunday School, and may have been 
the means of the salvation of these two gamblers, 
and of multitudes through their influence. 

We close these illustrative instances with but 
one more narrative out of the many others that 
might be given. 

A nobleman of great wealth, whose pleasure 
was drawn from his riches, his honors and friends, 
had a daughter, who was the idol of his heart. 
She was highly accomplished, amiable in her dis¬ 
position, and winning in her manners. At length, 
Miss-attended a Methodist meeting in Lon¬ 

don, was awakened, and soon happily converted. 
Afterward, to her the charms of Christianity were 
overpowering. The change was marked by her 
fond father with great solicitude, and was to him 
occasion of deep grief. He took her on long and 
frequent journeys, and attended her in the most 
engaging manner, in order to divert her mind from 
religion; but she still maintained her integrity as 
a Christian. After failing in all his projects, he 
introduced her into company under such circum¬ 
stances that she must either join in the recreation 
of the party or give high offense. It had been 
arranged among his friends that several young 
ladies should, on the approaching festive occasion, 
give a song, accompanied by the piano-forte. The 
hour arrived, the party assembled. Several pieces 


THE SERVICE OF SONG. 


335 


had been performed to the great delight of the 

company who were now in high spirits. Miss- 

was called on for a song, and many hearts beat 
high in hope of victory. Should she decline, she 
was disgraced. Should she comply, their triumph 
was complete. This was the moment to seal her 
fate. With perfect self-possession, she took her 
seat, ran her fingers over the keys, and commenced 
playing and singing, in a sweet air, the following 
words: 

“ No room for mirth or trifling here, 

For worldly hope or worldly fear, 

If life so soon be gone; 

If now the Judge is at the door, 

And all mankind must stand before 
The inexorable throne. 

“No matter which my thoughts employ, 

A momeflt’s misery or joy; 

But, O, when both shall end, 

Where shall I find my destined place? 

Shall I my everlasting days 
With fiends or angels spend ? ” 

She arose from her seat. The whole party was 
subdued. Not a word was spoken. Her father 
wept aloud. One by one the company left the 

house. Lord --never rested till he became a 

child of God. He lived an example of Christian 
benevolence, having given to various enterprises, 
up to the time of his death, nearly half a million 
dollars. 

From the foregoing narratives, and from the 



336 


THE SERVICE OF SONG. 


power of song, as sliown in former chapters, we see 
that music has exerted a magic influence in all ages, 
and in all climes. Its dulcet charms have captivated 
the prince and the peasant, the stalwart man and 
the gentle maiden, the child and the patriarch, the 
civilian, the savage, and even the ravenous 
beast of prey. Its martial notes have turned the 
scale of battle, and decided the fate of nations. 

“ Music, all-powerful o’er the human mind, 

Can still each mental storm, each tumult calm, 

Soothe anxious care on sleepless couch reclined, 

And e’en fierce anger’s furious rage disarm. 

** At her command the various passions lie; 

She stirs to battle, or she lulls to peace, 

Melts the charmed soul to thrilling ecstasy, 

* And bids the jarring world’s harsh clangor cease. 

“ Her martial sounds can fainting troops inspire 
With strength unwonted and enthusiasm raise, 

Infuse new ardor, and with youthful fire 

Urge on the warrior grey with length of days. 

• “ Oh! surely melody from heaven was sent, 

To cheer the world when tired of human strife, 

To soothe the wayward heart by sorrow rent, 

And soften down the rugged road of life.” 

In this connection, the romantic dreams of 
heathen writers will be regarded as expressing 
the truth in hyperbole. When Orpheus played 
on the flute, the rivers are said to have ceased 
to flow, the savage beasts of the forest to forget 
their wildness, and the mountains are said to have 
come to listen to his song. All nature seemed 


THE SERVICE OF SONG. 


337 


animated and charmed, and the nymphs were his 
constant companions. With his lyre in his hand, 
he entered the infernal regions, and gained 
easy admission to the palace of Pluto. The King 
of hell was charmed with the melody of his strains, 
the wheel of Ixion stopped, the stone of Sisyphus 
stood still, Tantalus forgot his perpetual thirst, 
and even the Furies relented. 

Amphion was also famous for his musical talent. 
At the sound of his lyre, the rocks moved from 
their places; and the animated stones rose up, 
and formed themselves into the wall of Thebes. 
Perhaps we are to understand by this that Am¬ 
phion by his music tamed the spirits, and softened 
the tierce manners of the savage Thebans, thus 
inducing them to build a wall for their defense. 

Songs are often more potent than the “ strong 
arm of the law.” Hence, the saying of the saga¬ 
cious moralist—“ Let me make the ballads of a 
nation, and I care not who makes its laws.” 

Music not unfrequently holds empire over the 
soul from childhood to old age. The poet may, 
therefore, well exclaim : 

** Music, the tender child of rudest times, 

The gentle native of all lands and climes; 

Who hymns alike man’s cradle and his grave, 

Lulls the low cot, or peals along the nave. ” 

In many of the instances illustrative of the 
power of music, given in this chapter, there was 

nothing but sound; in others, words sung by 
22 


338 


THE SERVICE OF SONG'. 


individuals; but the effects were truly aston¬ 
ishing. What, then, may we not expect when an 
inspiring tune, set to sacred words, is sung, “ in 
spirit and in truth,” by a worshiping assembly ? 

Would that all could feel that the songs of Zion 
are intended to be a great power in the Church. 

Why should we sing ? We should sing because 
God has given us the ability; because He 
has made it our duty and our privilege to sing; 
because He is infinitely worthy of praise; because 
sacred song is a grand means of bringing sinners 
to Christ, and “ showers of blessings” upon be¬ 
lievers. 

We should gladly engage in the service of praise 
that we may ultimately sing in heaven. Earth’s 
pursuits and joys are temporal; love and song are 
eternal. Here, dispensations of grace succeed each 
other; church edifices fall into decay; congrega¬ 
tions are broken up; ministers die; and soon shall 
be heard the echo of the last song of Zion sung on 
earth. Faith will be lost in the “ beatific vision;” 
Hope, the saint’s guardian angel, having con¬ 
ducted him to the “ shining shore,” will leave him 
amid the enduring splendors of immortality; but 
Love will still “live and sing.” 

Here, in the midst of our worship, we hear the 
voice of wailing, but 

“No sighs shall mingle with the songs 
Which warble from immortal tongues.” 

Here sickness enfeebles the voice, and in death it 


THE SEKVICE OF SONG. 


339 


is hushed; but the language of the grateful, 
Christian heart is : “ I will sing unto the Lord as 
long as I live: I will sing praise unto my God 
while I have any being.” With deep emotion, he 
thus addresses his Divine Benefactor: 

** Through every period of my life, 

Thy goodness I’ll pursue ; 

And after death, in distant worlds. 

The pleasing theme renew. 

4t When nature fails, and day and night 
Divide Thy works no more, 

My ever grateful heart, O Lord, 

Thy mercies shall adore. 

* 4 Through all eternity to Thee 
A grateful song I’ll raise; 

But O ! eternity’s too short 
To utter all Thy praise.” 

We bid all travelers to the celestial Canaan 
God-speed! We congratulate them on the blissful 
prospect which lies before them; as it is said— 
“ the redeemed of the Lord shall return and come 
with singing unto Zion; and everlasting joy shall 
be upon their heads: they shall obtain gladness 
and joy; and sorrow and mourning shall flee 
away.” 

While we live, may we all sing away our sor¬ 
rows, and may death be to us but a quaver rest 
in the song of Redemption. 0, that it may ulti¬ 
mately be said to us—“Awake and Sing, ye that 
dwell in dust! ” 


340 


THE SERVICE OF SONG. 


Cherishing this “good hope, through grace,” 
we repeat a few words from the Scriptures, and 
then take our leave : 

God is gone up wmi a shout, the Lord with 

TnE SOUND OF A TRUMPET. 

Sing praises to God, sing praises ; sing 

PRAISES UNTO OUR KlNG, SING PRAISES : For GOD 

is the King of all the earth : sing ye praises 

WITH UNDERSTANDING. 


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